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Last 6 Copies! SEARCH & DESTROY #7-11 ValuPak (w/SD4,5,7 originals)


Includes Search & Destroy #7-11 (10″x15″ BOOK) contains (in a JUMBO SIZE book) the issues of Search & Destroy #7-11.

Plus 3 original issues of Search & DestroySearch & Destroy #4, Search & Destroy #5, Search & Destroy #7. 

Product Description

Includes Search & Destroy #7-11 (10″x15″ BOOK) contains (in a JUMBO SIZE book) the issues of Search & Destroy #7-11.

Plus 3 original issues of Search & Destroy:

  • Search & Destroy #4, printed December 1977. It features Iggy Pop (our longest interviews, ever), Patti Smith, Bobby Death, Jordan (Ants), Mumps, Dead Boys (3 intvs), Metal Urbain, Helen Wheels, Liars, Sham 69, the Sales Brothers, London and Chicago Street Reports, plenty of photos
  • Search & Destroy #5, printed February 1978. It features Sex Pistols, Screamers, Nico, Wheels, SUICIDE (great interview), Crime, Crisis (Doug, who later founded Death in June), Nuns, Dils, Dickies, UXA, Devo, articles on the Masque & the Mabuhay Gardens, an article titled “Anarchy, Surrealism & New Wave”
  • Search & Destroy #7, printed summer 1978. It features Devo, DNA, John Waters, Patti Smith, Clash, Nuns, Roky Erickson (13th Floor Elevators),Offs, Cabaret Voltaire, Zeros, Amos Poe, Dick Envy, Screamers, Dils, Subway Sect, Deviants, Michael Kowalsky, street reports, and a reggae guide

These originals are in perfect condition, having never been handled or read, just stored archivally.


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Search & Destroy #7: THE CLASH
Search and Destroy: How did you go from being interested in painting to being in a band?

The Clash in action, circa 1977Paul Simeon: Well, what happened–somebody I knew at art college met Mick Jones in the street. He was a drummer and he rehearsed with Mick’s old group, the London SS. I was going out with some girl at the time and this drummer he was sort of like, after her, and he was sayin, “Why don’t you come down and see me play?” So she wanted to go and I didn’t want to go, so in the end I went. When I went down there Mick said “You’re a singer aren’t you?” and I said “No, I can’t sing.” So he got me down there singing. It was really terrible. (This was only about a year and a half ago). Then I used to hang around with Mick–he used to say to everyone, “This is my bass player, but he can’t play.” I couldn’t do nothing: I couldn’t sing, I couldn’t play instruments, I couldn’t do anything, I was useless. Mick, in fact, taught me how to play. Every note I hit–that’s all from what Mick taught me.

So we borrowed a bass–it used to belong to Tony James of Generation X. I painted notes on it so I could remember where to put me fingers!

S&D: What’s your main interest in the Clash?

PS: There’s so many things I’m interested in and that center around the group: the music, the words, everything. I sort of basically design the clothes; I’m very much a visual person.

S&D: Are you into the political aspect of the band?

PS: Yeah, definitely. Otherwise I wouldn’t be in the group.

S&D: Did you write any of the songs for the new album?

PS: No, I do write, but it’s very difficult; I get put off in a way that-I’m always being told I gotta learn my bass!

S&D: Has the band started making any money?

PS: …Before we’d always be worrying about we’d always about where we’d get our next meal. Whereas now we don’t have to worry about that so much.

S&D: Can that change the nature of the group?

PS: Don’t think so. I mean, we know what we’re doing, we know what we want to do.


S&D: It seems like your most instantly memorable song is “California Uber Alles”–how did that come about?

Jello Biafra: It starts with the post WWII baby boom bringing a huge bubble in the population; a very large group of people of a certain age group moving up the scale who reached their teens and early twenties in the 60s when the Vietnam War was going on…

S&D: Right, the first post-atom bomb generation–

JB: And the first vid-kid generation. OK, the ’60s were very intense; we had Kennedy assassinations, the Vietnam War, Civil Rights, people were waking up to their poisoned ecosystem. There were a lot of people just Rebelling, a lot more than what is going on now, and saying, “I want to make my own rules, I want to run my own life,” etc. And gradually, about ’72 or ’73 (different time for different people), the bubble seems to have burst, both for the hippies and others from that era, who had just gotten to the point of “Where do I go from here?”
S&D: –Inward “self -realization” and all that bullshit–

JB: But part of the self-realization is that there was Nothing There! It was kind of hollow, and so a lot of people seemed to be wanting to be told what to do–that’s one more of the reasons why you see more and more people turning to totalitarian mindf***k organizations–

S&D: What is “Kill the Poor” about?

Dead KennedysJB: It’s about the neutron bomb in American cities. When you’re fighting a foreign country, the best way to win a war is to devastate them economically and you can’t do that if you leave all their buildings intact, so obviously, they’ve put this together to use it on us! So that’s what the song is about–it’s sung from the point of view of one who’s going to survive. Sometimes I like to slip inside the villains and speak that way rather than standard protest stuff: “Jobless millions whisked away, no more welfare tax to pay!”