NY: Urizen Books, 1978. First US edition, enlarged and re-titled from the original UK edition, “Not Another Punk! Book”, published by Aurum Press earlier in the same year. 4to. Wrps., 128pp. Pink wrappers printed in black. Imaginatively designed by the art director for British Vogue, Terry Jones (later co-founder of i-D), and copiously photo-illustrated, with distinctive typography and striking graphics. Additional text by Dike Blair and photographs on the American punk scene (32pp.), including images by Marcia Resnick of members of the Contortions, Teenage Jesus and The Jerks, the Cramps; Joey Ramone and Iggy by Bobby Grossmam; Legs..... More about Punk

Printed in black on white paper. 21.5x14cm. (NB. variants exist in different sizes; some also list Wasted Youth; some are repros xeroxed later - given its super-clean condition this is likely one of them and has been priced accordingly). Pettibon’s jailhouse artwork depicts two hands exchanging a substance between prison bars. The concert was postponed and rescheduled for December 10, the venue moved from S.I.R. to the Ukrainian Cultural Center on Melrose with the Minutemen added to the bill, and new flyers were printed featuring different artwork by Pettibon. Near Fine. More about A flyer designed by Raymond Pettibon announcing Black Flag with D.O.A. and the Descendents at...

Santa Monica, CA: Smart Art Press, 1999. First edition. Sq. 8vo. Wrps., 96pp. Illustrated in colour and b/w throughout. Designed by Steve Samiof (Slash magazine) and published to accompany the exhibition held at Track 16 Gallery in downtown LA. Includes numerous images by photographers on the scene (Jenny Lens, Donna Santisi, Melanie Nissen, and others), reproductions of flyers, magazines, record sleeves, posters and other ephemera. Errata slip present. Near Fine. More about Forming: The Early Days of L.A. Punk

London: Come Organisation, March 1981. LP record (WDC 881009). First edition, limited to 500 copies. A collaboration featuring William Bennett, Steven Stapleton (Nurse With Wound), and I.P.S. Studio engineer Peter McGhee, recorded on Guy Fawkes’ night in 1980. The album (taped and found sounds, noise, sonic manipulation) was designed to be confrontational (as were all Come Organisation’s releases) and takes its title from “The 120 Days of Sodom”. This copy is an import to the US and bears a small title sticker on the upper right corner of the plain black sleeve, along with..... More about The 150 Murderous Passions, Or Those Belonging To The Fourth Class, Composing The 28 Days Of...

Artwork by Barry Jones; photograph of the Heartbreakers on a Denmark Street rooftop by Erica Echenberg. 21.5x33cm. Reproduced on the first commercially available colour photocopier in London. Band’s name mis-spelt “Heartbrakers”. The sold-out gig, and others like it at Eric’s in Liverpool and elsewhere, helped establish the Heartbreakers as a live act in the UK and led to their signing with Track Records a few months later. Minor wear to upper right corner, now fixed by a paper conservator. Linen-backed. More about An original colour xerox flyer announcing the Heartbreakers + Siouxsie and the Banshees at the...

(NY: Sire Records, 1977). Original US promotional poster for Richard Hell & The Voidoids’ debut album. 62.9x45.7cm. Offset litho. Designer unknown; photograph by Kate Simon. The album’s title track, written by Hell while he was in Television and a staple of their live sets, was based on “I Belong to the Beat Generation”, a parodic song from the 1959 record “Songs Our Mummy Taught Us” by Bob McFadden and Rod McKuen, reconfigured to reflect the punk sense of disillusionment and apathy. The poster’s design replicates the picture sleeve from the 12-inch single released by Sire as..... More about The Blank Generation

Grey to purple ombré print on white paper. 35.5x21.5cm. Illustrated. The concert (promoting their debut album, “Psychocandy”) was the Jesus and Mary Chain’s seventh and final gig on their first US tour, and a fairly early one by the Butthole Surfers, who released their second album, “Rembrandt Pussyhorse”, three weeks later. Old central horizontal fold and some light creasing, o/w Near Fine (stored flat). More about A large flyer announcing the Jesus & Mary Chain, the Butthole Sufers and Specimen at the...

Clapham: Drömm Records & Tapes, nd. (1979). A three-track cassette by London-based post-punk/industrial experimentalists, the last of which features Shaiga (Simon) Millward on bass guitar fed through a Watkins echo unit. Near Fine. More about Goatmanaut

Ed. Alan Betrock (#1 & #5-11); Craig Gholson, Guillemette Barbet (#2-4); Andrew Schwartz (#12-13). Tabloid newspaper format. Each 20pp.-72pp. A broken run of the first 13 issues of this renowned magazine (lacks issues #7 and #10), chronicling the burgeoning downtown New York scene and the punk explosion. The list of interviewees reads like a who’s who: Tom Verlaine; David Byrne; Wilko Johnson; Russ Mael; Cherry Vanilla; Richard Hell; Robert Mapplethorpe; David Johansen; the Sex Pistols; Blondie; Wayne County; Vivienne Westwood; the Clash; Lester Bangs; Patti Smith; Howard Devoto; Brian Eno; Lydia Lunch; Billy Idol; the B52s;..... More about NEW YORK ROCKER #1-6, #8-9, #11-13 (NYC: February 1976 - August 1978

(NY): Sire Records, 1976. Original US promotional poster for the Ramones’ debut album. 68x59cm. Offset litho. Design by Arturo Vega; photograph by Roberta Bayley. The band’s self-titled first album, released on April 23, 1976, featured 14 songs, the longest of which, “I Don't Wanna Go Down to the Basement”, lasted little more than two and a half minutes, a minimalist stance best summed up by Tommy Ramone: “We play short songs and short sets for people who don’t have a lot of spare time.” Roberta Bayley’s b/w cover photograph, originally shot for Punk magazine and appearing..... More about Ramones

B/w. 5.3cm. diameter. Verso slightly tarnished with minor spotting, o/w Near Fine. The catchphrase, inspired by one of the characters in the 1932 film, “Freaks”, was included in the song “Pinhead”. More about An original badge printing the Ramones’ catchphrase “Gabba Gabba Hey” and the band’s name...

NY: Boo-Hooray Gallery, 2010. First Edition. Sm. 4to. Leporello fold-out (16pp.) with brown silkscreened thick card wrappers and an outer clear acetate protective sleeve printing a unique xeroxed image from the book. Printed by Keegan Cooke at X Blank X Press. Limited edition of only 25 copies, each one numbered and SIGNED by Jon Savage on the lower wrapper. A facsimile of London’s Outrage #2, Savage’s photomontage artist’s ‘zine first published in early 1977 in an edition of 50 copies, featuring a dystopian, Ballardian urban landscape based around the author’s b/w photographs of punk-era dereliction in Notting..... More about London's Outrage

43x29cm. Printed offset in black on off-white thin cardstock. Illustrated with Gary Panter’s Screamers logo in repeat, a caricature of the band’s singer, Tomata du Plenty, who ran away to Hollywood aged 15 and later hitchiked to San Francisco and appeared in one of the Cockettes’ early shows (whose theatricality du Plenty carried into the Screamers’ live performances). The synth-punk show they headlined was Bill Graham’s first at the California Hall, and the first ‘punk’ show to be boycotted due to the high ticket prices he was charging. Short (6 cm.) crease to upper..... More about A poster announcing “A Nite of Electro Psycho Rock” with LA’s Screamers and San...

16.6x11.2cm. Announces the Pistols concerts at the 100 Club, June 29 and July 6, 1976. Fine. Provenance: Jon Savage. More about An original Sex Pistols b/w flyer designed by Jamie Reid and printed by him in preparation for...

London: EMI Records, 1976. Seven-inch single (EMI 2566). Second issue, with corrected producer credit for Dave Goodman on the B-side label; matrix/runout first variant. A Mint copy in its original EMI printed sleeve of a record described by Jon Savage in “England’s Dreaming” as “nothing less than a manifesto for the group’s entry into public life” (p.253). More about Anarchy in the U.K

Each 3.8cm. diameter. The first depicts a negative image in red of Jamie Reid’s ‘Nowhere’ bus on a blue ground and the first part of the song’s title; the second prints a negative image in blue of the ‘Boredom’ bus on a red ground and the second half of the song’s title. Near Fine. More about A pair of original badges promoting the release of “Pretty Vacant” (July 1977

Pub./ed. Steven Samiof and Melanie Nissen. Tabloid newspaper format. 24pp.-31pp. The first four issues of LA’s answer to Punk and New York Rocker, “born out of curiosity and out of hope” (editorial). The run features interviews with the Damned, the Weirdos, the Dils, the Zeros, the Germs, the Mumps, the Sex Pistols, and Joey and Dee Dee Ramone, with centrefolds devoted to the Screamers (incl. the Slash party in May 1977, their first gig), Devo and the Pistols. Considerable space is devoted to new record releases, and concerts are reported on from LA, San Francisco and..... More about SLASH #1-4 (Los Angeles, CA: May-September 1977

(NY): Arista Records, 1975. Original US promotional poster announcing Patti Smith’s debut album. 87x61cm. Offset litho. Design by Bob Heimall; photograph by Robert Mapplethorpe. In “Just Kids”, Smith wrote that “There was never any question that Robert would take the portrait for the cover of Horses, my aural sword sheathed with Robert’s image. I had no sense of how it would look, just that it should be true”, and tells of how she “promised Robert... that I would wear a clean shirt with no stains on it” (she bought a stack of white shirts from the Salvation Army..... More about Horses

(NY): Arista Records, 1976. Original US promotional poster for Patti Smith’s second album. 92x60.3cm. Photograph by Lynn Goldsmith, with lines quoted from the title song superimposed. The lower section reproduces the front covers of “Horses” and “Radio Ethiopia”, the latter featuring a photograph of Smith by Judy Linn. Smith’s second LP, dedicated by her to Arthur Rimbaud and Constantin Brâncuși, was released in October 1976, and two of its eight tracks were recorded live, including the title track, the lyrics of which were said by Smith to refer to Rimbaud’s dying wishes. Some light..... More about Radio Ethiopia

4to. Each issue printed on different colour paper, rectos only (except final two issues, rectos and versos). 10pp.-16pp., stapled at top corner (except #8, side-stapled). Illustrated. A complete set of Sandy Robertson’s fanzine, inspired by Mark Perry's Sniffin’ Glue and named after the lyric from “Ain’t It Strange” by Patti Smith, around whom most of the news and content is focused and whose image appears on the front cover of every issue (in an interview with Lisa Robinson for the January 1976 issue of Hit Parader, Smith talks about her earliest musical influences and uses the phrase in..... More about WHITE STUFF #1-8 (London: February 1977 - October 1978), all published

(Richmond Center, Wisc.): Patti Smith Fan Club, October 1977. Printed offset in black and grey on white paper. 28x21.5cm. Illustrated with a drawing by the author, who has SIGNED this copy in blue ink. The first line of the poem (reproduced in holograph facsimile) reads: “house doctor in the womb of pleasure”. The broadside, together with various other poetry broadsides and items of ephemera, was originally distributed with the fifth issue of De l’ame pour l’ame. Near Fine. More about A broadside poem from De l’ame pour l’ame #5, the Official Newsletter of the Patti Smith Fan...

Together with 15 glossy photographs by Kate Simon, Robert Mapplethorpe, Jody Caravaglia, and others. Approximately 300 pages, printed rectos only, bound by a metal clasp in a blue card transfer file. Title label to upper panel and ink stamp of ‘James Grauerholz/William Burroughs Communications’ to title page (the word “Agent” handwritten alongside). Author’s amendments in the copy throughout (along with holograph corrections in an unknown hand). Accompanied by the German (and only) edition, “Wille & Vermächtnis”, translated from the English by Susanne Bömer and Gabi Stollmann, published by Volksverlag Linden in 1983. Andi Ostrowe..... More about Original xerox typed manuscript of “Will and Testament”, c. 1979/80, Andi Ostrowe’s account...

Woodstock, NY: Hanuman Books, 1994. First edition. Poetry broadside printed in two colours on grey textured paper by Leslie Miller at the Grenfell Press. 50x26.8cm. SIGNED by the author in black ink. A poem written “after reading the autobiography of His Holiness, the 14th Dalai Lama” (Smith first began studying Tibetan Buddhism when she was about twelve years old, shortly after leaving the Jehovah Witnesses). Fine. More about A Small Entreaty

Printed in black on pale green paper, with date handwritten in blue felt tip. 28x21.5cm. The gig, which featured support from psychedelic surf band Lawndale and “novelist Jack Skelley” (journalist, author and Lawndale’s songwriter and guitarist), was Sonic Youth’s second in Los Angeles. In “Sonic Life”, Thurston Moore remembers D. Boon and Mike Watt of the Minutemen being in attendance, resulting in a meeting of “mutual appreciation for each other’s work”. Single ring-hole punch to centre of upper edge and minor creasing, o/w Near Fine. More about A flyer announcing “from New York” Sonic Youth at the Anti-Club, 4658 Melrose Avenue, Los...

NY: Red Star Records, Inc., c. February 1978. Xerox sheets (25), attached by staple at top left corner together with an original Roberta Bayley 8x10 b/w photograph of Alan Vega and Martin Rev at WTBS-FM’s studios in Cambridge, MA (pictured with Elvis Costello, Nick Lowe and “local radio personality”, Oedipus). Red Star Records was founded in 1977 by Marty Thau, former New York Dolls manager and early supporter of the Ramones, Blondie and the Heartbreakers. The label’s first signings were Suicide and The Real Kids, as announced on the first page by press agent Miriam Linna (ex-Cramps/Nervus Rex/Zantees)..... More about Red Star Records Press Kit

(NY): Elektra Records, 1977. Original US promotional poster for Television’s debut album. 61.5x60.7cm. Design by Tony Lane; photograph by Robert Mapplethorpe. The album was released in the US on February 8, 1977 and though initially unsuccessful in commercial terms, by December it had been voted the third-best album of the year in The Village Voice’s annual critics’ Pazz & Jop poll. For the album’s sleeve, Richard Lloyd famously took Robert Mapplethorpe’s b/w photograph to a print shop in Times Square and asked for colour photocopies, then suggested that the printer experiment by “turning the knobs with..... More about Marquee Moon

London: Black Dog Publishing, 1999. First edition. Large 8vo. Wrps., (336pp.). SIGNED by all four members of Throbbing Gristle - Genesis P-Orridge, Cosey Fanni Tutti, Chris Carter and Peter Christopherson - on the blank first page. Foreword by Jon Savage. Photo-illustrated throughout. Taking its title from Tory MP Nicholas Fairbairn’s outburst (headlined in The Daily Mail, October 19, 1976), Ford’s history provides a detailed narrative of COUM’s history, beginning with its conception in Hull in 1969, the landmark ‘Prostitution’ show at the ICA that provoked Fairbairn’s diatribe, and its metamorphosis into Throbbing Gristle and their..... More about Wreckers of Civilisation: The Story of Coum Transmissions & Throbbing Gristle