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Out of print since 2015, the Tom Rothrock and Rob Schnapf helmed work is back and this time on an RSD Essentials limited edition exclusive Sky\/Dune Buggy Blue swirl vinyl color repress of the 2015 remaster done by Carl Saff. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eDaredevil\u003c\/em\u003e\u003cspan\u003e was the band’s second LP and their final release on Bong Load Recordings. Led by singer\/guitarist Scott Hill, drummer Ruben Romano and guitarist Eddie Glass returned for the ride joined by the debut of bassist Brad Davis, who has been with the band ever since. 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Formed in London by Ghanaian saxophonist Teddy Osei, the group fused highlife traditions with rock, jazz, funk, soul, and psychedelic influences—creating a vibrant, globally resonant sound. \u003c\/span\u003e\u003cem\u003eWelcome Home\u003c\/em\u003e\u003cspan\u003e (1975) marked the band’s debut for Bronze Records and a new creative chapter under manager-producer Gerry Bron, capturing Osibisa at a pivotal moment of crossover success. The album includes the enduring hit “Sunshine Day,” a joyous, feel-good anthem that remains one of the band’s most beloved tracks. 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Translating from Twi as “Fire Awake,” the record channels a powerful spiritual energy - an invitation to ignite the inner self through rhythm and movement. Originally released on the Bronze label (with producer Gerry Bron), this era of the band’s sound leans into a sleeker, more commercially polished production, seamlessly blending traditional highlife roots with the shimmering textures of disco.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis anniversary edition is pressed on striking 180g “Flying Saucer” special-effect vinyl. 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Known for high-octane, aggressive, and often chaotic sounds, the band draws on influences ranging from Dead Kennedys to Slayer, delivering a raw, visceral, and, at times, melodic sound. \u003cspan class=\"uJ19be notranslate\" data-wiz-uids=\"lglaXe_d,lglaXe_e\" data-sfc-cb=\"\" data-processed=\"true\"\u003e\u003cspan class=\"vKEkVd\" data-animation-atomic=\"\" data-wiz-attrbind=\"class=lglaXe_c\/TKHnVd\" data-processed=\"true\"\u003e\u003cspan aria-hidden=\"true\" data-processed=\"true\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe West Coast's contribution to hardcore punk is undeniable. That tradition of aggression, passion, and scrappy melodicism continues with The Barbarians Of California, an engaging new manifestation of iconoclastic spirit and true bombast. Born from the shared passion of Aaron Bruno (AWOLNATION) and his longtime engineer Eric Stenman - who cut his teeth in the same Sacramento community that eventually launched diverse and disparate acts like Deftones, Far, Will Haven, Team Sleep, Hella, Dance Gavin Dance, Death Grips, and Trash Talk - the spirit of the underground and the personal catharsis delivered through metallic hardcore never left either of them. So, when Aaron learned that Eric crafted a batch of throwback bangers combining impassioned angst with modern sensibilities, he wanted in immediately. The Barbarians of California was born. In 2024, the band released their debut album, And Now I'm Just Gnashing My Teeth, and celebrated with a high-energy show at the iconic Troubadour in Los Angeles, cementing their place in the hardcore scene's next chapter. Since then, they've continued to build momentum with headline shows across LA, a summer 2025 arena tour with Deftones and other festival appearances that brought their explosive live presence to a wider audience. Dropping two new singles in 2025 including a collaboration with Keith Buckley (Every Time I Die\/Many Eyes), The Barbarians Of California are gearing up in 2026 for the release of their sophomore album, MEGATONS. With their second full length, The Barbarians of California are unleashing fresh chaos straight from the sun-soaked, teeth-gnashing heart of the Golden State. 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The first evidence of these sessions was unleashed upon an “unsuspecting human world” in April 1978 on the band’s own Vengeance Records label. It was a two song 7-inch with a version of the Trashmen’s 1963 classic ‘Surfin’ Bird,’ pushed well beyond its breaking point, forcing it to mutate into a much higher form of lowdown, and Jack Scott’s 1959 cool burning ‘The Way I Walk,’ dragged back into the Stone Age...\u003c\/p\u003e\n\u003cp\u003eAfter one listen, it was clear the Cramps had absolutely tapped into Rock ’n’ Roll’s mainline. In November of the same year, and again from the October 1977 sessions came another two song lesson in how it’s done, or undone, with easily one of the greatest A sides of all time: ‘Human Fly.’ The B side was held hostage by “Domino,” originally sung by Roy Orbison. The Cramps’ version swaggers with infinite confidence and is an absolute thrill to listen to. In the summer of 1979, young degenerates in England were treated to a 12-inch by the Cramps called Gravest Hits, which featured not only the aforementioned four tracks, but also a fifth, again from the October 1977 sessions...\u003c\/p\u003e\n\u003cp\u003e“What happened to the rest of the tracks from those auspicious days in October 1977? In 2026, Larry Hardy, owner and operator of In The Red Records, rapelled down, deep into the vast, sunless vault of the Cramps tape collection, and resurfaced hours later, disoriented and out of breath, but overjoyed with what he’d returned to topside with: six ¼” reels of tracks, mixed by Lux [Interior] and [Poison] Ivy...\u003c\/p\u003e\n\u003cp\u003eGravest Gravy is one of the purest collections of unrestrained, wild music you’ll ever hear—like Jerry Lee Lewis unchained, like Elvis meets Tarzan—like it should be. 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