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RARE! SEARCH & DESTROY #1-11 COMPLETE SET (’77-’79. only 2 are reprints)

(1 customer review)


Punk Rock’s most radical & imaginative interviews, articles and graphics were pioneered in Search & Destroy, edited by V. Vale between 1977 and 1979. Award-winning layout and photography.

We made a limited photocopy edition of Issue #3 (in 1988 we’d already reprinted #10 from the original negatives). Now you can have a COMPLETE SET OF 11 issues of SEARCH & DESTROY for only … See for yourself why Search & Destroy is considered the BEST Original Punk Magazine by Jello Biafra & Others (Note: we saw that a dealer is selling Search&Destroys for $500 EACH, so this is a true bargain).



Product Description

Nine originals plus two reprints (total: 11 issues) direct from the source, V. Vale! (Support him & order direct!) Search & Destroy, San Francisco, 1977-79. Folio. Tabloid format, front cover is 9×11.5″; centerfold is 23×18″. Folded once as issued. Vale’s seminal punk zine. Founded with two $100 grants from Allen Ginsberg and Lawrence Ferlinghetti (Vale’s former employer at City Lights), Search & Destroy remains the most influential American Punk zine of the late 1970’s and an important link between the Beat and the Punk movements. UPON REQUEST, V. Vale will autograph only (1) issue, but you must request in writing!

“I’m stunned by what an extraordinary and important publishing enterprise the Re/Search books and Search & Destroy have been — a life-line for the imagination almost suffocated to death by the huge eiderdown of bourgeoise culture. Your books feed the desperate imagination.” – J.G. Ballard

“The original Search & Destroy one could spend hours reading. It was full of new and exciting material.” – J.G. Ballard (From S.F. Eye, 1991.)

Additional Information

Weight 3.0 lbs

1 review for RARE! SEARCH & DESTROY #1-11 COMPLETE SET (’77-’79. only 2 are reprints)

  1. admin

    . . . Numerous books look back nostalgically at late-’70s punk. But a new two-volume collection of the pioneering zine Search & Destroy offers a genuine document of the era. . . . By discussing “ideas and culture” instead of “personal biography” with the Ramones, Buzzcocks, and others, Vale (and such contributors as Jon Savage) created fresh, thoughtful material. And discovered surprising tidbits: Who’d have pegged Nico as an Yma Sumac fan?”

    –Spin, May 1997

    . . . Instead of looking back at wild times, compartmentalizing them as “history,” editor/publisher V.Vale presents unaltered interviews, with famous and unfamous punk figures, that remain surprisingly vital after almost 20 years.”

    –San Francisco Bay Guardian, February 1997

    . . . . . . the hype surrounding Search & Destroy: The Complete Reprints is truly deserved. The original eleven issue run has reached near legendary status among those of us who still care about overlooked cultural icons like Frankie Fix or Jennifer Miro, and who are actually interested to learn that the Nuns’ guitarist considered Jackson Pollock one of his prime influences.”

    –Maximum Rock’n’Roll, February 1997

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Excerpt: Exene


Search and Destroy: How did you get involved in music?

Exene: To clear up that whole thing of why I’m in a band, if anybody cares, as if it’s not obvious why I’m in a band: I used to write all the time and I used to be real crazy. And then I met John (Doe) and he thought I was real talented, but God I was a mess! And he was a writer too. Then one night I went out to this gay bar and wrote a song called “I’m Coming Over” and it was just one of those things—I wrote a song and started singing it. And John thought, “Well, I can play guitar, y’know..” Then we met Billy (Zoom). It was real weird because we didn’t plan it, like “I saw New Wave coming and I knew it would be a good way to be famous.” I’m in a band because I think I’m good in a band and I think I can sing good.

S&D: Do you have any musical influences?

E: Yeah, but they were pretty temporary, and I don’t take them too seriously—you can’t. Just like you can’t go out and see how other people dress and go home and dress like them. I used to listen to Jim Morrison a lot; he had an influence on me, but it was a mixed-up crazy influence that I got rid of because it wasn’t doing me any good. Songs I like by him are “Soul Kitchen” and “You’re Lost Little Girl” and “Love Me Two Times” because they’re about real things. Those other extravaganzas are just to scare people or to make people think he’s supernatural. Little Richard and Eddie Cochran and Gene Vincent are as much of an influence to me as Billy in that—keep things basic, and you have this good sense of rock and roll, and you have a sense of fun. And…you do it that way, people will understand it, and that’s how you appeal to people and that’s how you make good music.

Excerpt: Dead Kennedys

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?


JB: 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!”

Excerpt: The Clash


Search and Destroy: How did you go from being interested in painting to being in a band?

Paul 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.

Excerpt: The Sex Pistols


JOHNNY: There’s a very definite reason we haven’t played the larger cities (New York, LA) in that all those places are such obvious sell-outs. Who plays down south (Georgia, Texas, Oklahoma) to those poor bastards? Everybody hates them. We went down there and found out they were all right, in fact they’re probably more honest than they are up here. There’s nothing wrong with cowboys.

SID: We figured, “Nobody goes down there, so we will.” Rules are made to be broken, right? When there are no more rules or categorizations, when there are no more “niggers” or “whites,” when there’s just people, when there’s no more “Punks,” when there’s no more dirt—that is when things are gonna be OK. We’ll probably be dead in two years, me and him, but we’re gonna try anyway, because somebody has to do it. I think the world will die before it happens, but if nobody else is gonna do it, WE are.

SID: A&M cancelled our contract because they put us in a limousine and we didn’t like it, and me and him (Johnny) beat up—you know, Paul, our drummer?—we got in a fight. We’d each drunk a two-litre bottle of (unintelligible) and half a bottle of brandy, and whiskey and stuff, and we were a bit out of it, and we got in a fight in the car. We smashed each other’s heads in, and Steve nearly broke my legs, he twisted my legs around –

JOHNNY: That wasn’t the real reason they got rid of us—

SID: And then he punched—

JOHNNY: That’s not the reason at all. We don’t know the real reason, but I bet they’re sorry now.

SID: We were rehearsing and Malcolm came up and said, “Your contract’s been canceled,” and we laughed our heads off, because we don’t care.

JOHNNY: …The album was recorded before we signed on Warners. We do all our own recordings, and then we sell the tapes to the record company; that way they can’t fleece us wicked. If anyone does the fleecing, it’s us.

SID: — Yesssss…We’ve got a new song about South Africa, about how the blacks are repressed so bad there, they are gonna rise up, and they are gonna KILL those people –

JOHNNY: Oh shut up, I’ll be playin’ the violin in a minute—

SID: We’ve got a song about God; it’s a real attack, and it’s played to The Death March….

SID: I’ve had more fun on this tour than I’ve had on any other tour. I’ve shaped up and I feel good; I feel OK. I’ve had some fun.

JOHNNY: We have to leave now because our visas expire. We’re being evicted from your wonderful free country, think about that…..your President Carter. We have to get out after two weeks; this is a real liberated country, isn’t it? Stars and stripes….

SID: Real free, every cowboy is just lookin’ for an excuse to blow you away, you know what I mean? I mean, like that’s nowhere. Those people are nowhere, they’re so big and tough, but—

JOHNNY: What are you going on about? …We thought we had problems in England, but lookin’ at you people, my god, you’re all messed up! So lethargic, your government is usin’ you, and you’re just a lot of puppets.

SID: You’re being manipulated—

SID: I love the RAMONES…..

JOHNNY: I don’t like rock music; I don’t even know why I’m in it….It’s the best way to destroy things. I hate all those impostors in rock & roll, those cheap arseholes who call themselves “poets” and take themselves serious; all they’re doing is destroying music, but in a ridiculous way because they’re taking it on a serious level. At least we’re destroying it practically. I wanna just ruin everything….I hate interviews. This is so tedious, for a young man like me. The music speaks for itself, and if you can’t work out the message from that, then you really don’t deserve to be told.

Excerpt: Patti Smith

Search&Destroy: What are you listening to now?

Patti Smith: HEROES [David Bowie]. I listen to RADIO ETHIOPIA a lot. I like the Clash, Jimi Hendrix, Tapper Zukie. I tell you, most of the time I listen to THE IDIOT…I like SONIC REDUCER. I like the Ramones, Television. But most of all I still like Jimi Hendrix. I haven’t really changed much that way. Every time I play guitar I feel like I’m doing a Jimi Hendrix song.

S&D: You still haven’t gotten airplay with Radio Ethiopia…

PS: It’s been really tough on us because if you don’t get airplay, rack jobbers don’t rack your record, people don’t distribute your record, the company doesn’t get behind you.


The thing is…DJs all unanimously agree that we’re good, they just don’t want to be responsible for backing up certain philosophies that we have…they don’t want to risk This, they don’t want to risk That. They don’t want to risk Clairol or whoever is taking out a million dollars worth of advertising.

Unlike the other groups we do something about it, we fight, and we fight verbally. The more you fight verbally, the more pissed off they get. I think of Radio Ethiopia as a sacrificial lamb. It got us banned, they put us in a really dark place. We had trouble getting jobs after that, we were known as troublemakers. But it’s not like in Europe where if you’re a troublemaker you make front-page news. In America if you’re a troublemaker they stuff you in a swamp. The thing is, we stuck to what we believed in and nobody really believed we would. And we’re bigger than ever.

S&D: How do you feel—you put a lot of time and energy into making Radio Ethiopia and then it doesn’t get played—

PS: How do we feel? I cried. I fought. I fought with the radio stations and they told me they have ten million dollars worth of advertising and I either watch my language and change the titles on the songs and forget about “Rock and Roll Nigger” or forget airplay.

I don’t play that kind of stuff. We came into rock n roll in ’74 cause we really felt like that. Rock n roll was at a danger level. The radio was sleeping, the people were sleeping, there were no clubs, there was nothing. Our goal was to break through this kind of thing, not only for ourselves but for the kids to come, for generations to come.