Allegedly Records is the vision of three individuals in three different states. We are united by a love of punk and the desire to do our part to contribute to the scene.
Allegedly Records operates as a full service record label that aids our bands with all aspects of the music industry, without inhibiting their creative process.
You’ve probably heard by now that Green Day has a new album called Saviors on the way. Perhaps you’ve even listened to the first single “The American Dream is Killing Me”. But have you pre-ordered all 367 color variants of the album on vinyl? I sure hope not! But, if you’d like to, we’ll be […]
You’ve probably heard by now that Green Day has a new album called Saviors on the way. Perhaps you’ve even listened to the first single “The American Dream is Killing Me”. But have you pre-ordered all 367 color variants of the album on vinyl? I sure hope not! But, if you’d like to, we’ll be enabling you to do so. This edition of the Dying Scene Record Radar is dedicated solely to the many color variants of the new Green Day record! Let’s get into it, shall we?
Editor’s Note: This album has since been released but more and more color variants keep popping up, so this will continue to act as a tracker for the numerous variants of Green Day’s new record Saviors. Enjoy.
Hot Pink
No pressing info
Amazon exclusive
Clear w/ Hot Pink Galaxy
Limited to 2,000 copies
Green Day store exclusive
SOLD OUT
Black Ice w/ Hot Pink Splatter
Limited to 7,350 copies
Green Day store exclusive
Neon Pink w/ Neon Green Splatter
Limited to 4,800 copies
Green Day store exclusive
New as of October 27th these MFs are actually shameless
180g Black Vinyl w/ embossed gatefold sleeve & poster
No pressing info
Available everywhere
Standard black vinyl
No pressing info
Available everywhere
Baby Pink
Limited to 1,000 copies (hand numbered)
1-2-3-4 Go! Records exclusive
SOUL DOUBT
Black/Magenta Split
No pressing info
Indie variant, available everywhere
Opaque Gray
Limited to 1,000 copies
ZIA Records exclusive
Tangerine
Limited to 1,000 copies
Newbury Comics exclusive (no fucking surprise this is the most expensive of the bunch; jackasses)
Sky Blue
Limited to 1,500 copies
Urban Outfitters exclusive (lol)
Neon Pink w/ Black & White Splatter
Limited to 6,000 copies
Spotify exclusive
Neon Pink
No pressing info
HMV exclusive (step aside Newbury Comics, this one’s actually the most expensive!)
Violet
No pressing info (yet)
Hot Topic exclusive
Pre-order starts 10/25 allegedly… guess they forgot?
Unnamed Shade of Pink(???)
No pressing info
Barnes & Noble exclusive
Clear (looks silver but trust me it’s just clear)
No pressing info
Target exclusive
“Rose” (not gonna fucking lie this looks exactly the same as 1-2-3-4 Go’s variant, we’ve been hookwinked)
No pressing info
JB Hi-Fi Exclusive (AUS)
“Lemonade” (it’s fucking yellow! Just call it yellow!)
Probably like 5 trillion copies
Punk as phuc Walmart exclusive
I AM SICK OF THIS SHIT
No fucking way there’s another one and it’s called Bluejay Marble
Limited(!!!) to 4,725 copies
Green Day webstore variant #4
Blood Records exclusive zoetrope picture disc
4,000 copies – soul doubt
Blood Records
UPDATE 1/5/2024: We have eclipsed 20 variants, folks! #21 – Tricolor Black White Hot Pink Vinyl LP
Limited(!!!!!!!!!) to 3,350 copies
Get it here, there and everywhere
Aaaaaaaand #22! “iHeart Exclusive” White Vinyl
Limited to 1,000 copies
Green Day webstore
Variant #23: UK Indie Pink / Black Marble
??? copies – this was supposed to be the same as the US Indie variant but someone fucked up
Any record store in the UK
Did we miss any? Let us know in the comments!
Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!
This edition of the Dying Scene Record Radar is brought to you by the new album from UK skate punks Making Friends! Get their debut LP Fine Dying on limited edition colored vinyl here and listen to the album on Bandcamp.
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!
Check out the video edition of this week’s Record Radar, presented by our friends at Punk Rock Radar:
17 years after its original release on CD, Frenzal Rhomb‘s Forever Malcolm Young is getting its first ever vinyl release. SBÄM Records has three snazzy splatter variants on their US and EU webstores. Our Australian readers (or anyone willing to pay a slight premium for shipping) can get the record on “Goon Wolf Red” colored vinyl from Artist First and/or very cleverly marketed “Johnny Ramone Punk Rock Black” vinyl from JB Hi-Fi.
Strung Out‘s Twisted By Design is the latest record in Fat Wreck’s 25th Anniversary reissue series. The original mix/master of this album has been out of print since 2010, so that’s notable as well. As always, Fat divulges absolutely nothing about the color variant because they know we’ll buy it regardless. So head on over to their webstore to grab a copy and find out what color the rekkid is when it shows up in the mail.
Needless to say, there were a lot of awesome reissues announced this week. Next up to bat is Asian Man Records with new pressings of both Link 80 albums, 17 Reasons and The Struggle Continues. Both are limited to 800 copies; the latter is back in print for the first time since its original release 20+ years ago. Get ’em here.
New release! Yes, we sometimes have those on the Record Radar. Matt Skiba attempts to steal the spotlight from his ex-Blink 182 bandmates with an announcement of his own. Alkaline Trio will release their 10th album Blood, Hair, and Eyeballs on January 26th, 2024. They’re pressing like 30 color variants for this fuckin’ thing and they’re all exclusive to different retailers… someone on Reddit was nice enough to make a post aggregating links to all the places you can buy each variant, so check that out.
Here’s another new release I’m really excited about; one of my most anticipated records of 2023, actually. Bri’ish skate punks Making Friends just launched pre-orders for their new album Fine Dying, which is due out November 3rd. Check out the new single “Broken” below and pre-order the record at one of these places: Punk Rock Radar (US), High End Denim Records (CA), Cat’s Claw Records (UK), Pee Records (AUS), Waterslide Records (JP).
Known for their recent reissues of some classic Pulley records, DustyWax Records adds another feather in their cap with a first ever vinyl release of 88 Fingers Louie‘s 88 Fingers Up Your Ass. Not much more to share on this right now; stay tuned for pre-orders coming soon on the label’s webstore.
Real Gone Music adds to their recent run of Donnas reissues with new pressings of Get Skintight and Turn 21. Each has an Indie variant (not so limited) and a webstore exclusive variant (very limited). These join the recently reissued self titled LP and American Teenage Rock ‘N’ Roll Machine, bringing all of The Donnas’ Lookout! Records catalog back in print for the first time in over a decade. All of the records are available here.
New Orleans ska-punks Joystick have a new record coming out November 14th on Bad Time Records. It’s a 12″ EP with four new songs on Side A and a “20 minute mystery side” on the flipside. Check out one of the new songs down there and get the record here.
Minneapolis’ Partial Traces (members of Banner Pilot, the Soviettes, Dead Landlord, Riverhead, etc.) just released a new record. It’s called Stay Dreaming and it sounds absolutely nothing like any of those other bands. Listen below, buy the record here.
Cal-gary, Alberta’s Territories have a new record out now on Pirates Press Records. Check out the latest single below and get it on neon orange (700 copies) and/or neon violet (300 copies) here. Only $18! (that’s USD, not CAD).
Revelation Records has an exclusive variant of the new Youth Brigade – Sound and Fury reissue from Trust Records. 1,000 copies on yellow colored vinyl; get it here.
Joyce Manor covered a Tigers Jaw song. Tigers Jaw covered a Joyce Manor song. Hopeless Records released a 7″ containing both of these cover songs and you can buy it here. There’s a tour variant, too, so if you’re one of the rich MFs at that When We Were Young Fest this weekend you can probably pay $20 for it at either band’s merch tent.
Speaking of When We Were Young Fest, during their performance at that very Las Vegas festival yesterday, New Found Glory allegedly announced their 2004 album Catalyst will be getting its first ever vinyl release, with pre-orders going live this coming Friday. These NFG reissues always sell out fast as hell, so keep your eyes on the band’s social media for an official announcement.
In a last minute addition to this week’s column, Chase the Glory Records has announced a big time repressing of SNFU’s 1996 FYULABA LP. There are 1,000 copies spread across four beautiful color variants. Pre-order just went up today; get your copy here.
Last order of business this week, I wanna give a quick shoutout to a longtime supporter of the Record Radar, Dan Jones aka @punkrock_vinyl on Instagram. Dan’s account was actually one of the main sources of inspiration for me starting this column. He recently launched his own distro with a bunch of awesome records (such as Love Equals Death‘s Nightmerica, which I snatched up with no hesitation, alongside the new Contra Code record Friday Junior). The prices are great and even though he’s based in the UK, shipping to the states is very reasonable. Head over there and check it out!
Well, that’s all, folks. Another Record Radar in the books. As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next week!
Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!
Hello, and welcome to Record Store Spotlight; a new column here on Dying Scene dedicated to an institution almost as American as apple pie and unfettered capitalism – the record store! Today, I’ll be putting the spotlight on one of my favorite local stores, the Clearwater Record Shop. Nestled in the middle of my hometown […]
Hello, and welcome to Record Store Spotlight; a new column here on Dying Scene dedicated to an institution almost as American as apple pie and unfettered capitalism – the record store!
Today, I’ll be putting the spotlight on one of my favorite local stores, the Clearwater Record Shop. Nestled in the middle of my hometown (a city most well known for being home to the Church of Scientology’s headquarters), the Clearwater Record Shop sets itself apart from other record stores with its heavy focus on used music. Rather than relying on distributors to supply new releases, owner Casey Brown has spent years building his inventory one record collection acquisition at a time. The store which spans two interconnected warehouse spaces boasts one of the most expansive selections of used CDs I’ve ever seen. Every time I visit, I leave with a stack of jewel cases a few feet high. It’s easy to get carried away when you’re met with hundreds of bins overflowing with discs, the majority of which are just $3.75 each (or six for $20!).
Sure, it’s hard to beat the ease and convenience of shopping online. But the Clearwater Record Shop goes toe to toe with Discogs prices, and I find that most of the time, they come out ahead. Also, I’ve yet to find a more enjoyable way to kill a few hours on my day off than thumbing through thousands of records and CDs, searching for worthy additions to my collection. It’s a visceral experience that can’t be matched by browsing an online marketplace. Finding a record like The Clash’s Combat Rock for $15, and not having to wait an eternity for USPS to deliver it is icing on the cake. My only complaint about this store is that the selection is literally overwhelming. If you’re on a budget, you might have to get a little picky as your stack grows taller.
In the cooler months (yes, we sometimes have those here in Florida), the Clearwater Record Shop acts as a host to monthly swap meets. Local record collectors and vendors are invited to set up tables in the parking lot to sell their wares. These events serve as a great meeting place for the community, and are a highlight of winter and spring for me. The first time we attended, I grabbed a few LPs, including the Buzzcocks’ A Different Kind of Tension ($10) and Billy Joel’s Songs in the Attic ($5), along with a bunch of dollar bin CDs by the likes of the Ramones, Ozzy, and Megadeth.
It’s always a fun time shopping at this store. Casey is very personable and has created something really special here. The store has a unique, inviting old school atmosphere. The selection is great, and the prices are fair. Your dollar goes a lot further here than it does at most record stores.
If you ever find yourself in the Tampa Bay area, I highly recommend stopping by the Clearwater Record Shop. With two air conditioned warehouses packed to the rafters with nothing but music, music, and even more music, you’re bound to stumble upon something that suits your fancy. Or, if you lack self control like me, you’ll probably leave with a mountain of stuff that suits your fancy.
For more info, check out the store’s website, and follow them on Instagram.
Do you have a favorite local record store you’d like to let everyone know about? Of course you do! Hit us up on Facebook or Instagram and submit your own Record Store Spotlight. The more the merrier!
The Clash‘s 1985 death knell Cut the Crap has long been the subject of severe scrutiny from fans and critics alike. This album, the obvious black sheep of their discography, was recorded at a tumultuous point in the legendary band’s career. A few years prior, Joe Strummer and Paul Simonon made the decision to give […]
The Clash‘s 1985 death knell Cut the Crap has long been the subject of severe scrutiny from fans and critics alike. This album, the obvious black sheep of their discography, was recorded at a tumultuous point in the legendary band’s career. A few years prior, Joe Strummer and Paul Simonon made the decision to give longtime drummer Topper Headon the boot due to his increasingly problematic heroin addiction (though it’s worth noting that even Topper himself admits it was the right choice). The subsequent firing of founding member and songwriter Mick Jones dealt an even more significant blow to the Clash, ushering in a new era of the band, often referred to as “The Clash Mark II”. But Strummer and Simonon made their bed, and when it came time to record Cut the Crap, they got to lie in it.
Joining the duo beneath the sheets (along with new guitarists Nick Sheppard and Vince White, and new drummer Pete Howard) was manager Bernie Rhodes, and boy did he shit the bed. Rhodes, who was fired by the Clash in 1979 and soon after re-hired, supposedly at the demands of Strummer, handled production duties on Cut the Crap. One small problem: the guy had no fucking clue what he was doing. Unless you count his involvement in the recording of Vic Godard & Subway Sect’s 1980 LP What’s the Matter Boy?, Rhodes had virtually no experience as a producer before Strummer handed him the keys to the Ferrari (or Ford Fiesta, considering the present state of the Clash).
The lack of a competent producer becomes blatantly obvious within a few seconds of pressing play on Cut the Crap, as you are immediately greeted by the barrage of absolute bullshit that is the opening track “Dictator”. The first thing that is immediately apparent is that new drummer Pete Howard is not playing on the recording; Rhodes instead opted to use one of the cheesiest sounding drum machines you’ll ever lay ears on. Soon after, your ears begin to bleed from the incessant radio chatter, coupled with piercing synthesizers that seem to be 100 decibels louder than everything else in the mix. You can barely hear Strummer’s vocals or any of the guitars under the mountain of noise. And it’s a real shame because it sounds like there might actually be a decent song somewhere in there.
“Dirty Punk” is a major improvement over its predecessor, sonically at least. It seems Rhodes may have put down the psychedelics for a minute and let Strummer do his thing on this track. Unfortunately, while the synthesizers, horns, and general noise are not present, the lyrical content is disappointingly shallow and fails to grab me. We get it, Joe! You’re a dirty punk and you’re really excited to drive, drive, drive your big, big, big, big, big car up the boulevard. You don’t have to remind us a dozen times in the span of three minutes.
Another major misstep made in the production of Cut the Crap was the decision to use gang vocals on every. single. fucking. chorus. I’m not exaggerating – just listen to the album. Every chorus is shouted, full throat, regardless of lyrical context. As a result, all nuance is removed from the songwriting. The otherwise beautiful, heartfelt “This is England” is tarnished as Strummer is joined by a choir that can barely carry a tune, leaving little to differentiate the song from ultra-hollow tracks like “We Are The Clash” and “Are You Red..Y”. If scholarly source Wikipedia is to be believed, Rhodes is not to blame for this decision, as most of the band was in favor of the liberal use of “football-style chants” for the choruses.
Now that we’ve gotten all that negativity out of the way, let’s switch gears and focus on some of the more positive aspects of Cut the Crap. Let’s start with “Fingerpoppin'”! This groovy little number is without a doubt the crown jewel of Clash songs, with its funky slap bass and introspective lyricism – ah, who am I kidding? This song fucking suuuuuuuucks! It is awful. A lot of tracks on this album have the potential to be pretty good if Bernie Rhodes didn’t take a god damn baseball bat to their kneecaps; “Fingerpoppin'” is not one of them. This is an aggressively corny song that should be erased from existence. I listen to this record from time to time because I’m mentally unstable, but I cannot in good faith advise you to listen to this track.
All jokes aside, there are some very enjoyable songs to be found on Cut the Crap. “Movers and Shakers” is really, really good – one of the few tracks with a chorus that lends itself to the gang vocals (in fact, I can’t listen to this song without singing along to the chorus). “This is England”, generally considered the best song on the album, is excellent as well. “Three Card Trick” and “Play To Win” remind me a lot of Strummer’s later output with his other band Joe Strummer and the Mescaleros.
What frustrates me the most about Cut the Crap is that deep, deep down, under the many layers of horrendous production, there’s a solid album. That’s made abundantly clear when you listen to recordings of “The Clash Mark II” playing these songs live. There is a stark contrast between what this record was intended to sound like, and what was ultimately realized after Rhodes had his way with it. Take a minute to check out the live recording of “Dictator” below – it’s actually incredible how much better it sounds than the catastrophe of a studio version. This YouTube playlist with live versions of eight tracks from the album is a great listen, and the Out of Control demos also paint a very different picture of these songs.
Was Cut the Crap ever going to usurp classic Clash records like Give ‘Em Enough Rope or Combat Rock as a fan favorite? Of course not; I’m not that delusional. But I think it certainly deserved a much better fate, and could have made for a respectable sendoff for “The Only Band That Matters”, had there been a serviceable producer at the helm (or anyone not named Bernie Rhodes). If you want an idea of what that version of Cut the Crap could have sounded like, I recommend checking out the “Mohawk Revenge” remix of the album. This fan-made release does a masterful job of mixing some of the salvageable elements of the original tracks with fully re-recorded instrumentation. The cacophonous sounds of drum machines, blaring synthesizers, and the many other downright malicious production decisions are nowhere to be found. Even the most ardent Cut the Crap haters will probably enjoy this re-creation of the much-maligned album.
Ultimately though, Cut the Crap would be the final nail in the coffin of the Clash. Joe Strummer disowned the album, and after unsuccessfully threatening to sue Epic Records to prevent its release, he went into hiding in Spain. The band did not tour in support of the record; they broke up within weeks of its release (though Bernie Rhodes allegedly made a last ditch effort to replace Strummer and keep “The Clash” on the road). And with that, “The Only Band That Matters” was no more.
Baltimore skate punk band Paperback Tragedy take you on a trip back to the 90’s with their 2022 album Threeshe!. Recommended if you like No Use For A Name, Lagwagon, etc.
Justin
Another two releases need to be added
Neon pink green and Walmart lemonade
Screeching Bottlerocket
Thank you very much brotherman
Rob
I see another one on the Barnes and Noble Website for $60??
Andrew
JPC.de (Germany) seems to have an exclusive for Germany / Switzerland / Austria on the same neon pink that HMV is selling.
https://www.jpc.de/jpcng/poprock/detail/-/art/green-day-saviors/hnum/11631275
Eric
Blood records – Zoetrope picture disc https://blood-records.co.uk/products/greenday
Assai obi – https://assai.co.uk/products/green-day-saviors-vinyl-lp-assai-obi-edition-black-pink-colour-2024?eml=2023December6/6311131/6134461&etsubid=225821104
Tim
https://imusic.nl/music/0093624849018/green-day-2024-saviors-lp
https://imusic.nl/music/0093624849032/green-day-2024-saviors-lp
Here you have 2 “exclusive” variants
Justin
The 2nd link has the 1234 go sticker so my guess is 1234 Go are numbering them but the vinyl is the same colour as the others
Two new ones yesterday though
Andrew
New variant. Assai updated their picture. Turns out that the EU / UK indie variant (that Assai is simply wrapping with an additional obi strip) is different than the US indie variant. The US got the black / magenta split, the EU / UK looks to be getting a black & pink marble.
https://assai.co.uk/products/green-day-saviors-vinyl-lp-assai-obi-edition-black-pink-colour-2024
Screeching Bottlerocket
Added to the tracker! Thank you soldier