LAST - L.A. Explosion CD SET WITH FLIER, VINTAGE BADGE, GLOSSY PHOTO, CD AND 7" COVER!

JUST A FEW CDS LEFT,  WE MADE A NICE SET HERE WITH SOME ITEMS FROM OUR ARCHIVES!

HERE'S WHAT YOU GET, PACKED IN A RESEALABLE POLY ENVELOPE:

LAST - L.A. EXPLOSION CD ON BOMP, SEALED 

GLOSSY BOMP PROMO PHOTO 

COPY OF FLIER FROM OUR ARCHIVES ANNOUNCING A GIG AT THE WHISKEY 

VINTAGE BADGE 

SLEEVE FOR "EVERY SUMMER DAY" - (SORRY, JUST THE SLEEVE, NO RECORD)

THE Their debut album -the band were to record some of the best L.A punk nuggets ever to be committed to tape.

And listening now, many people will be surprised to discover how dang catchy they are.

Short and succinct, the fifteen songs on L.A. Explosion (as well as the six reissue-exclusive bonus tracks) run the gamut from cheery pop ("This Kind of Feeling," "Every Summer Day") to neat-o psych ("She Don't Know Why I'm Here," "Bombing of London,") to Buzzcock -y punk-pop ("I Don't Want To Be In Love," "Looking At You").It's a perfect mix, and it characterizes a perfect debut album by a band of hooligans who were formed before the Sex Pistols even released their first single.

Influenced as much by the sixties "punk" sound as the Ramone climate that the band had been born unto, they were certainly a creative lot. Stray genres also find solace in L.A. Explosion - "Slavedriver," for example, has a powerful surf guitar part, and the album's third last song just happens to be a cover of "Be-Bop-A-Lula."The bonus tracks, meanwhile, are a Last fan's most sacred dream.

Alternate, more psychedelic versions of "She Don't Know Why I'm Here" (which I personally like very much) and "Bombing of London" are included from their 1977 debut 45.

Then comes different versions of "Every Summer Day" and "Hitler's Brother," the latter of which was a b-side of the "Every Summer Day" single from 1978.

An early version of the album's title-track (from the 1978 single) is also included.

Then, to top things off, the band's spaced out contribution to Bomp Records' Waves compilation is thrown in for good measure. Poising ultra-modified vocals over a heavily distorted guitar/drum/bass background, it sounds as it was a Jupiter import from the 60s.