796:
791:
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2328:
462:. Diggle explained "they pressed up the album thinking that was it and when the album came out I said, 'what the fuck's happened here? You missed three songs?' The three missing songs were soon released a month later as bonus tracks on the Japanese edition, since the band had a different record label deal in Japan, where they were signed to Real Cool Records instead. In the words of Ronnie Dannelley of
557:" that resurfaces on "Point of No Return", but, in the words of Roger Catlin, "these aren't middle-age musicians trying to pass for callow youth," as some of the songs on the album "reflect their maturity and approach to relationships that the early singles just couldn't." The sound of the band changes considerably in songs written by Steve Diggle, who according to Catlin "sounds a bit like
335:
770:
765:
760:
755:
750:
545:, the band's drummer Phil Barker was noted as "in particular showing more individual flashes and flair than before," whilst Shelley and Diggle "throw in a couple of almost mainstream guitar solos along the way, but otherwise are as dedicated as always to the virtues of high-volume, brisk poppiness." Some songs on
833:
rated the album four stars out of five and said "the quartet here sounds like the
Buzzcocks, if again essentially the pop-friendlier side of the band." He said that "things haven't sounded this crisp and clear for the band even since the late '70s" and said the album was "generally effective business
706:
mixed punk rock and pop as was the
Buzzcocks style, Diggle said that he thought the revival was "exciting, it brings guitar back. In Britain there's a lot more guitar bands happening." When asked whether he felt that "these new groups are stealing the Buzzcocks' thunder for doing what the Buzzcocks
626:
recalled it, the album suffered for "a lack of promotion" and it was not a commercial success, not appearing in any country's national chart, although steady sales from the supporting tour upheld its popularity. The administration of the label was sudden, as at the time of the release of the album,
627:
Diggle had explained in an interview that "we signed for a couple of albums. We'll probably be touring the rest of this year, then a new album next year." The folding of I.R.S. Records meant that the band did not release a second album the following year; the band eventually released a new album,
449:
but engineered it at the same studio, and played piano on the album. King's acclaimed producing and engineering work on the album lead to one critic noting that "things haven't sounded this crisp and clear for the band even since the late '70s." Frank
Rinello is credited in the album sleeve as
513:
provides "a nice extra touch here and there," such as on the lower-key groove of "Hold Me Close," one of
Shelley's tenderer love songs, while Diggle "pulls off a rock-of-the-gods epic start" for "Playing for Time." The concluding two songs have both been noted for having "something to them in
399:
sound and a departure from the experimental music Shelly and Diggle had recorded away from the
Buzzcocks. Although it was a critical success, it was not a commercial one despite the huge surge in popularity for pop punk at the same time, but regardless, the band toured relentlessly worldwide
600:
was released worldwide in May 1996 by I.R.S. Records, except in Japan where it was released by Real Cool
Records instead on 21 June 1996. In the United Kingdom, it was released on 6 May as a CD and limited edition LP, whilst in the United States it was released on 14 May. The album title,
293:. Changes are especially evident in the album's three songs written by Diggle, who had written and recorded three further songs with the band for the album but which were accidentally left off the album when it was handed for publishing, although the unreleased songs were released as
476:"This recording is Fun with a capital "F". Bouncy. And there are some melodic gems among the more manic cuts: "Back With You" and "Hold Me Close" standing out as Buzzcocks classics. "Totally From The Heart" has Pete at his frantic best and "Without You" is nothing like the
313:
the label's last release, and abruptly ending the album's promotion. As such, it was not a commercial success. However, it was a critical success, with critics praising the manic and melodic juxtaposition, memorability of its songs and vitality. Music journalist
838:
gave the album a three-star honorable mention, signifying "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure." His review of the album quipped "love life much smoother, music summat." Roger Catlin of
579:
By the time the album was released, the band's line-up had been their longest lasting so far, and the group had now been around longer since their 1989 reunion than they had when they originally existed in the late 1970s. For the release of
453:
The final album was mostly written by
Shelley, including Your Love and Give it to Me who Shelley had recorded and released in 1988 as Zip, although three songs were written by Diggle. When asked why he didn't contribute as many songs on
612:
the last release on the label. Shelly recalled "we were on tour and all the people we were working with suddenly got the phone call that there's no record company." He recalled that "Miles
Goldham was trying to buy back his share from
621:
stuff. As a result of that his backers fell through. So, he just threw his hands up in despair. He was left with no option but to close down the company." As such, it left the band without a record label and, as a journalist from
707:
were doing 20 years ago," Diggle replied "Well, there's a hint of that, but you think maybe it will develop. Everybody takes a starting point at some time." On 23 June 1996, Buzzcocks even opened the Sex
Pistols' reunion tour,
592:(for US distribution), were not far reaching enough. When asked about the change of label to I.R.S., Diggle explained that "we thought it would be a better move, you know, better distribution. Some people had problems finding
262:(1993), the band's first record since their reunion in 1989, the band toured relentlessly which inspired the band–especially Shelley–to create a new album. Hiring longtime punk rock producer Neill King to produce and engineer
301:
leans heavily onto
Shelley's material. Barker's drumming style was said to show more flair, whilst the record is said to "reflect their maturity and approach to relationships that the early singles just couldn't."
38:
879:
was another album of "memorable originals with familiar virtues," singling out the songs "Totally from the Heart," "Hold Me Close," "Point of No Return" and "Back with You" as highlights.
285:
The album is a departure from the band's earlier material, retaining a pop punk style but adding regular unusual arrangements and instruments in many songs, with varying songs including a
2264:
458:
as he had on the band's previous releases, Diggle explained that the band had actually recorded six of his contributions, but the songs were delivered too late to the band's record label
849:(a title that comes from the oft-repeated phrase used by American waitresses), won't sound out of place amid the classics when the Buzzcocks headline a show Sunday at Toad's Place in
407:
in 1995, and hired longtime English punk rock producer Neill King to produce the album. According to music journalist Ned Raggett, "hooking up with Neill King as producer for
1465:
403:
Touring the world playing their durable old songs had put the group−especially Pete Shelley−in the same framework for new songs. As such, they began work on the new album
309:
in most markets, a label the band signed to in order for their music to be better distributed. However, the label closed two months after the album's release, making
951:"reaffirmed Buzzcocks' position as a band deeply loved and revered by a global audience, simultaneously true to their original ideals and open to new ideas."
1687:
857:
published a positive review and said the band "sound just as lively as they did back in the mid-seventies. The popular side of punk... less Vicious than
656:
The album was released during a popular resurgence for punk rock, with older punk bands reuniting and newer ones receiving international exposure, and
947:"served to affirm that Buzzcocks could still appeal to a global audience while still remaining true to their original ideals." It has been said that
795:
790:
785:
361:
band the Buzzocks reformed in 1989 for a tour of the United States, although by 1990 the reunion had become permanent. The group's rhythm section,
1550:
526:-swept declaration of love. Nonetheless, besides the unusual touches, Raggett said its "generally effective business as usual" Ali Sinclair of
2119:
2207:
2026:
1721:
1519:
1976:
1731:
608:
However, the band had only spent two weeks of publicity for the album before I.R.S. Records suddenly closed on 11 July 1996, making
2257:
369:(drums) soon left the band, both of whom were content to continue their other lines of work, and after a brief stint with former
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366:
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514:
particular"−"Pariah" has a quirky rhythm crunch to it à la "Sixteen," while Diggle's "Back With You" starts off with an
481:
920:
as "part of this larger thing but at the same time too it’s always these individual evolutions." He said that although
2133:
641:
has never been re-issued or re-released by itself, a remastered version was included as the fifth and final disc in
588:, as the band thought that the two labels they were signed to at the time, Castle Records (for UK distribution) and
505:
style, the band experiment "here and there" on the album with atypical instruments and arrangements. Ned Raggett of
2293:
1906:
509:
described the experiments as "hints of trying to breathe once again beyond the basic formula." The inclusion of a
2357:
2175:
421:." Buzzcocks felt that "a little acknowledgement back" to Green Day was in order, even going so far as to record
2154:
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629:
391:
258:
180:
162:
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571:
said that the album contains "sing-along odes to love's confusion in the tradition of older Buzzcocks songs."
2308:
2092:
2019:
362:
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386:
374:
315:
253:
1837:
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2200:
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1814:
932:
912:
805:
565:. (The band in its current incarnation is rounded out by a newcomer rhythm section, which figures.)"
430:
346:
271:
88:
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2012:
1924:
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567:
554:
466:, the "humorous incident" would have sent "collectors scrambling to find the Japanese pressing."
442:
530:
said that although listeners might assume the band to have mellowed out, they "still sound like
1783:
2161:
1972:
1727:
708:
282:, to whom Buzzcocks had been a big influence, had recently recorded music engineered by King.
17:
1838:"Buzzcocks' 1996 Album 'All Set' Sees the Veteran Band Stretching Out and Gaining Confidence"
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841:
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778:
666:
589:
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426:
342:
318:
said the album "confirmed the Buzzcocks' latter-day renaissance." A remastered version of
267:
139:
84:
653:
on 20 June 2014 containing five of the band's albums that were deemed to be "classics".
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198:
132:
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1376:
943:, music writer Mick O'Shea said that alongside the band's other post-reunion albums,
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286:
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687:
450:"assisting" the recording, whilst Jim Push is credited for "additional keyboards."
382:
378:
249:
245:
127:
829:
The album was released to a positive reception from music critics. Ned Raggett of
411:
was an amusing turn on the part of the Buzzcocks, given that King had engineered
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671:
617:/IRS, and he had backers in place, but then they decided, oh you can't have the
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389:, and drummer Phil Barker. The band recorded their first album in 14 years,
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50:
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396:
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237:
104:
1993:
1998:
866:
646:
1568:
1551:"POP REVIEW;Grand Old Men of Punk, Inspired by the Audience's Energy"
618:
413:
290:
553:
from older songs by the band, such as the European siren lick from "
377:, the group's standardised line up became vocalists and guitarists
37:
437:. Nonetheless, the Buzzcocks were "far from trying to capture the
333:
45:
605:, comes from an often repeated phrase from an American waitress.
244:. After standardising their line-up of vocalists and guitarists
2008:
1430:"Buzzcocks: Trade Test Transmissions Album Review | Pitchfork"
614:
438:
2004:
660:
has been seen as exemplifying the period. In his review of
1377:"All Set - Buzzcocks | Songs, Reviews, Credits | AllMusic"
845:
was favourable and said that "at any rate, the songs from
1753:– Buzzcocks | Songs, Reviews, Credits, Awards | AllMusic"
417:, the breakthrough album from open Buzzcocks worshippers
936:(2006) span some 30 years, "they all sound incredible."
256:, and drummer Phil Barker for the band's previous album
690:
and the Buzzcocks. What year is this exactly?" After
670:
proclaimed "what an unusual summer we're having. The
682:
are on reunion tours, and there are new albums from
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Ever Fallen in Love (With Someone You Shouldn't've)
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126:
110:
98:
80:
72:
57:
44:
30:
783:
1925:"Manchester Music - News Story From the Archive"
1405:"Buzzcocks | Biography & History | AllMusic"
1630:"I.R.S. Records History On A&M Records.com"
474:
353:After their prolific career in the late 1970s,
278:, a studio where then-huge pop punk bands like
1715:
1713:
1497:"Interview with Steve Diggle of the Buzzcocks"
902:." Whilst interviewing Diggle, a reviewer for
2020:
1907:"An Interview with Steve Diggle of Buzzcocks"
1399:
1397:
890:was "incredibly strong." Ronnie Dannelley of
8:
1901:
1899:
1862:
1860:
898:" and said it showed the band "avoiding the
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1371:
1369:
1367:
1365:
910:and noted "it feels just as vital to me as
2027:
2013:
2005:
1663:
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1659:
1657:
1655:
1520:"Review: Buzzcocks, All Set - AliSinclair"
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1450:
1868:"Robert Christgau: CG 90s: Key to Icons"
1466:"Album Review: All Set -- The Buzzcocks"
1172:
966:
395:(1993), a return to the band's original
16:For the Milton Babbitt composition, see
1317:
694:pointed out that popular acts such as
305:The album was released in May 1996 by
1308:Frank Rinello – assisting engineering
728:
236:is the fifth studio album by English
7:
2120:Another Music in a Different Kitchen
1886:"TrouserPress.com :: Buzzcocks"
1244:Adapted from the album liner notes.
584:, the band changed record labels to
1569:"Censor This - Buzzcocks interview"
959:All songs written and composed by
297:in the Japanese release. As such,
25:1996 studio album by Buzzcocks
14:
2208:Operator's Manual: Buzzcocks Best
1784:"Robert Christgau: CG: Buzzcocks"
1720:O'Shea, Mick (20 November 2012).
1271:Philip Barker – drums, percussion
749:
2327:
2326:
894:called it "a solid follow-up to
794:
789:
784:
768:
763:
758:
753:
748:
1969:Buzzcocks: The Complete History
1284:Jim Push – additional keyboards
904:San Francisco Bay Area Concerts
501:retains the band's traditional
1179:
970:
906:said he had been listening to
441:audience with a variation on "
289:, quirky rhythms, strings and
1:
1836:Soulsby, Nick (28 May 2020).
1808:Hajari, Nisid (24 May 1996).
1549:Strauss, Neil (4 July 1996).
1470:Tribune Digital - the Courant
322:was released in the box set
2134:A Different Kind of Tension
1692:www.originalalbumseries.com
561:when he doesn't sound like
429:in Green Day's hometown of
2379:
1087:"What Am I Supposed to Do"
445:". King not only produced
15:
2322:
2042:
1967:McGartland, Tony (2017).
1929:www.manchestermusic.co.uk
1911:www.sfbayareaconcerts.com
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35:
2141:Trade Test Transmissions
989:"Totally from the Heart"
392:Trade Test Transmissions
330:Background and recording
259:Trade Test Transmissions
214:"Totally from the Heart"
163:Trade Test Transmissions
1971:. London: Music Press.
1872:www.robertchristgau.com
1688:"Original Album Series"
1686:Ltd, Isle Interactive.
633:, three years after on
489: —Ali Sinclair of
400:following its release.
266:, the band recorded in
1103:"Some Kinda Wonderful"
664:, Roger Catlin of the
486:
350:
2363:I.R.S. Records albums
1949:(Album liner notes).
1726:. Music Sales Group.
1612:"Buzzcocks - All Set"
1594:"Buzzcocks - All Set"
1174:Japanese bonus tracks
1117:"What You Mean to Me"
861:, more friendly than
575:Release and promotion
549:seem to borrow whole
337:
61:14 May 1996
2201:Singles Going Steady
2169:Flat-Pack Philosophy
1890:www.trouserpress.com
1815:Entertainment Weekly
1669:"The Buzzcocks 1999"
1276:Additional musicians
1045:"Point of No Return"
933:Flat-Pack Philosophy
913:Singles Going Steady
806:Entertainment Weekly
724:Professional ratings
643:Classic Album Series
324:Classic Album Series
2294:Flag of Convenience
1788:robertchristgau.com
1673:www.earcandymag.com
1634:www.onamrecords.com
1501:www.earcandymag.com
1175:
963:, except as noted.
853:." Ali Sinclair of
725:
217:Released: July 1996
2272:Harmony in My Head
2193:Compilation albums
2183:Sonics in the Soul
2001:(list of releases)
1573:www.censorthis.com
1555:The New York Times
1281:Neill King – piano
1212:"Television World"
1173:
1131:"Playing for Time"
882:A journalist from
723:
568:The New York Times
555:Harmony in My Head
351:
2340:
2339:
1953:. 72438 36962 22.
1780:Christgau, Robert
1524:Consumable Online
1236:
1235:
1198:"Holding Me Down"
1169:
1168:
939:In his 2012 book
916:" . He described
892:Pop Culture Press
855:Consumable Online
827:
826:
709:Filthy Lucre Tour
528:Consumable Online
518:and turns into a
491:Consumable Online
464:Pop Culture Press
229:
228:
189:
188:
18:All Set (Babbitt)
2370:
2358:Buzzcocks albums
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2329:
2282:Related articles
2061:Chris Remmington
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1723:The Anarchy Tour
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1698:on 15 April 2016
1694:. Archived from
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1647:
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1640:on 10 April 2012
1636:. Archived from
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842:Hartford Courant
836:Robert Christgau
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341:was recorded at
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1530:on 25 July 2008
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1325:McGartland 2017
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1170:
1159:"Back with You"
1073:"Kiss 'N' Tell"
1059:"Hold Me Close"
1017:"Give It to Me"
957:
900:sophomore slump
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635:Go-Kart Records
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516:acoustic guitar
495:
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427:Fantasy Studios
343:Fantasy Studios
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268:Fantasy Studios
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2251:What Do I Get?
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1003:"Without You"
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955:Track listing
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729:Review scores
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713:Finsbury Park
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692:Ear Candy Mag
689:
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680:the Dictators
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534:overdosed on
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511:Hammond organ
508:
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76:November 1995
75:
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43:
39:
34:
29:
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19:
2258:I Don't Mind
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2093:Steve Garvey
2068:Pete Shelley
2060:
2053:
2048:Steve Diggle
2046:
1992:
1968:
1946:
1937:
1928:
1919:
1910:
1889:
1880:
1871:
1847:. Retrieved
1841:
1831:
1819:. Retrieved
1813:
1803:
1791:. Retrieved
1787:
1774:
1762:. Retrieved
1756:
1750:
1742:
1722:
1700:. Retrieved
1696:the original
1691:
1681:
1672:
1642:. Retrieved
1638:the original
1633:
1624:
1615:
1606:
1597:
1588:
1576:. Retrieved
1572:
1563:
1554:
1544:
1532:. Retrieved
1528:the original
1523:
1500:
1469:
1437:. Retrieved
1433:
1424:
1412:. Retrieved
1408:
1384:. Retrieved
1380:
1332:
1320:
1260:Steve Diggle
1254:Pete Shelley
1243:
1091:Steve Diggle
961:Pete Shelley
958:
948:
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865:- music for
854:
846:
840:
828:
816:
804:
691:
688:the Specials
665:
661:
657:
655:
649:released by
642:
638:
628:
623:
609:
607:
602:
597:
593:
581:
578:
566:
551:guitar licks
546:
542:
540:
538:- or more."
527:
498:
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490:
487:
475:
463:
455:
452:
446:
422:
412:
408:
404:
402:
390:
383:Steve Diggle
379:Pete Shelley
363:Steve Garvey
352:
338:
323:
319:
316:Colin Larkin
310:
304:
298:
295:bonus tracks
284:
263:
257:
250:Steve Diggle
246:Pete Shelley
232:
231:
230:
202:
179:
171:
170:
161:
46:Studio album
22:
2353:1996 albums
2289:Discography
2103:Tony Barber
2078:Garth Smith
1300:engineering
1266:Tony Barber
1031:"Your Love"
930:(1978) and
834:as usual."
684:Patti Smith
672:Sex Pistols
637:. Although
532:the Beatles
443:Basket Case
387:Tony Barber
365:(bass) and
254:Tony Barber
2347:Categories
2127:Love Bites
2098:Mike Joyce
2083:John Maher
1843:PopMatters
1793:1 December
1764:1 December
1578:27 October
1439:27 October
1414:27 October
1386:27 October
1313:References
1296:production
927:Love Bites
896:Trade Test
886:said that
818:PopMatters
651:Parlophone
594:Trade Test
435:California
385:, bassist
375:Mike Joyce
367:John Maher
276:California
252:, bassist
152:chronology
144:Neill King
93:California
65:1996-05-14
2162:Buzzcocks
2036:Buzzcocks
1943:Buzzcocks
1289:Technical
1248:Buzzcocks
1240:Personnel
1187:Writer(s)
978:Writer(s)
851:New Haven
719:Reception
700:Green Day
497:Although
419:Green Day
355:punk rock
326:in 2014.
280:Green Day
242:Buzzcocks
150:Buzzcocks
51:Buzzcocks
2332:Category
2299:Magazine
1945:(1996).
1849:17 March
1821:17 March
1758:AllMusic
1702:22 April
1644:22 April
1534:22 April
1409:AllMusic
1381:AllMusic
1145:"Pariah"
831:Allmusic
743:AllMusic
536:caffeine
507:Allmusic
503:pop punk
480:classic
431:Berkeley
397:pop punk
373:drummer
359:pop punk
347:Berkeley
272:Berkeley
238:pop punk
203:All Set
140:Producer
105:Pop punk
89:Berkeley
73:Recorded
58:Released
48: by
2314:Luxuria
2236:Singles
2176:The Way
2148:All Set
1999:Discogs
1994:All Set
1961:Sources
1947:All Set
1751:All Set
1616:Discogs
1598:Discogs
949:All Set
945:All Set
922:All Set
918:All Set
908:All Set
888:All Set
877:All Set
867:pogoing
847:All Set
676:Misfits
662:All Set
658:All Set
647:box set
639:All Set
610:All Set
603:All Set
598:All Set
582:All Set
547:All Set
543:All Set
499:All Set
456:All Set
447:All Set
423:All Set
409:All Set
405:All Set
339:All Set
320:All Set
311:All Set
299:All Set
264:All Set
233:All Set
199:Singles
185:(1999)
176:(1996)
172:All Set
167:(1993)
85:Fantasy
63: (
31:All Set
2155:Modern
1975:
1730:
1304:mixing
1229:Diggle
1215:Diggle
1201:Diggle
1190:Length
1162:Diggle
1148:
1134:Diggle
1120:
1106:
1076:
1062:
1048:
1034:
1020:
1006:
992:
981:Length
737:Rating
734:Source
704:Rancid
674:, the
630:Modern
619:R.E.M.
520:string
414:Dookie
371:Smiths
291:synths
181:Modern
133:I.R.S.
111:Length
81:Studio
1184:Title
975:Title
875:said
711:, at
696:Oasis
524:synth
470:Music
240:band
201:from
128:Label
100:Genre
1973:ISBN
1851:2023
1823:2023
1795:2015
1766:2015
1728:ISBN
1704:2016
1646:2016
1580:2016
1536:2016
1441:2016
1416:2016
1388:2016
1232:3:40
1218:3:50
1204:3:53
1165:4:12
1151:3:16
1137:3:43
1123:3:20
1109:2:19
1095:3:22
1079:2:35
1065:4:02
1051:2:20
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1023:3:22
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995:2:45
823:7/10
702:and
678:and
645:, a
381:and
248:and
2218:EPs
1997:at
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1195:14.
1180:No.
1156:13.
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971:No.
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20:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
