MAREK JEZIŃSKI
1. Abaddon, “Wet za wet”
From: Wet za wet. New Wave Records NW 018, 1986, 33⅓ rpm.
Waldek “Kiki” Jędyczkowski: voc., Tomasz “Perełka” Dorn: drums, perc., Tomasz “Lutek” Frost: bass; Bernard “Benek” Szarafiński: guitar.
Abaddon (named after the “Old Testament” mythology) was a punk band inspired by the British crews as The Exploited, and Discharge. Both songs (“Wet za wet”, “Kto”) present the anti-war and anarchist attitude of the group members. They come from the only album released by the band (recorded in Yugoslavia).
2. Abaddon, “Kto”
From: Wet za wet. New Wave Records NW 018, 1986, 33⅓ rpm.
Waldek “Kiki” Jędyczkowski: voc., Tomasz “Perełka” Dorn: drums, perc., Tomasz “Lutek” Frost: bass; Bernard “Benek” Szarafiński: guitar.
3. Armia, “Jeżeli”
From: Armia. Pronit PLP 0075, 1987, 33⅓ rpm.
Tomasz “Budzy” Budzyński – voc.; Robert “Afa” Brylewski – guitar, voc.; Alik Dziki – bass; “Żwirek” – bass; Sławomir “Merlin” Gołaszewski – sax; Krzysztof “Banan” Banasik – corno.
The song was written as a manifesto of anarchist and ecological attitudes of the Armia (a Polish word for an “army”) members. It became one of the group’s trademarks: appreciated by the fans it became the indispensable part of the band’s live shows during the whole career (long with “Aguirre” or “Jestem Drzewo, jestem Ptak” – the early compositions).
4. Armia, “Aguirre”
From: Armia. Pronit PLP 0075, 1987, 33⅓ rpm.
Tomasz “Budzy” Budzyński – voc.; Robert “Afa” Brylewski – guitar, voc.; Alik Dziki – bass; “Żwirek” – bass; Sławomir “Merlin” Gołaszewski – sax; Krzysztof “Banan” Banasik – waltorinia.
Raw and brutal in music form, “Aguirre” was released as a debut Armia’s single (by Tonpress). The lyrics was inspired by Wener Herzog’s film Aguirre. Der Zorn Gottes. Released as one of the first recordings of the band portrays a strong individual, a leader who hopelessly chases after his dreams, aspirations, and at the same time he fights against the his own fate and social institutions. It is worth to add, that many of Tomasz Budzyński’s lyrics were inspired by the fine arts works, films, or poetry and fiction novels, especially by Dante Alighieri, Thomas S. Eliot, Samuel Beckett or Leonard Cohen.
5. Brygada Kryzys, “Centrala”
From: Brygada Kryzys. Tonpress SX- T 16, 1982 , 33⅓ rpm.
Robert Brylewski – guitar, voc.; Tomasz Lipiński – voc., guitar; Ireneusz Wereński – bass; Jarosław Ptasiński – perc.; Janusz Rołt – drums, perc.; Tomasz Świtalski – sax.
Both songs (“Centrala”, “Przestań śnić”) come from one of the most important and influential Polish albums of the early 80s., recorded at the beginning of the martial law (January 1982) combining post-punk, New Wave reggae and psychedelic elements blended into unique sound and style. In “Centrala” (the “Headquarters”, released also as a single by Tonpress) the band members aim their critique at total subjugation of an individual to the political decision-making centers. The lyrics ironically depicts the socialist/authoritarian political regime: although the headquarters is supposed to “save” the people, they still wait for the signal to be saved, and in fact – they always will wait. The headquarters is used as a metaphor of an ineffective authorities misleading the citizens’ hopes, and reflects the general picture of Polish society after the introduction of marital law.
6. Brygada Kryzys, “Przestań śnić”
From: Brygada Kryzys. Tonpress SX- T 16, 1982 , 33⅓ rpm.
Robert Brylewski – guitar, voc.; Tomasz Lipiński – voc., guitar; Ireneusz Wereński – bass; Jarosław Ptasiński – perc.; Janusz Rołt – drums, perc.; Tomasz Świtalski – sax.
Both songs (“Centrala”, “Przestań śnić”) come from one of the most important and influential Polish albums of the early 80s., recorded at the beginning of the martial law. “Przestań śnić” aims at solipsism and individualism that might be result of social atrophy during the martial law period.
7. Dezerter, “Spytaj Milicjanta”
From: Underground out of Poland. Maximumrocknroll MRR 003, 1987, 33⅓ rpm.
Darek “Skandal” Hajn – voc.; Robert “Robal” Matera – guitar; Darek “Stepa” Stepnowski – bass; Krzsiek Grabowski – drums, perc.
Published as a part of the first Polish punk record ever released as an EP (by Tonpress). In the lyrics Dezerter ridiculed the Militia officers who were not highly esteemed by the average citizens (especially by the punks) in the 80s.
8. Dezerter, “Ku przyszłości”
From: Underground out of Poland. Maximumrocknroll MRR 003, 1987, 33⅓ rpm.
Darek “Skandal” Hajn – voc.; Robert “Robal” Matera – guitar; Darek “Stepa” Stepnowski – bass; Krzsiek Grabowski – drums, perc.
Published as a part of the first Polish punk record ever released as an EP (by Tonpress). In the lyrics Dezerter laughed at the official socialist propaganda and its slogans aiming at the attempts for activating young people to collective work for a country ruled by the communists. Ironically, the official picture depicted in a song (the future is univocally colorful, stabile, promising and optimistic) is clashed with Polish reality familiar to all the citizens, including, ineffective industry, market shortages, inefficient economy, and the lack of trust for the authorities.
9. Izrael, “Wolny naród”
From: Nabij Faję. Pronit M- 0015, 1986, 33⅓ rpm.
Robert Brylewski – guitar, voc.; Dariusz Malejonek – guitar., voc.; Piotr Subotkiewicz – fl, keybords, perc.; Sławomir Wróblewski – bass; Wojciech Konikiewicz – keybords; Piotr Żyżelewicz – drums, perc.; Vivian Quarcoo – voc.
The song was released as the band’s strongest ideological statement on the second album. Izrael was the most important and the most popular Polish reggae group (Izrael presumably was the first reggae band in Poland). “Wolmy naród” (“The Free Nation”) was written as a manifesto of individuals and groups independence from socialist regime shortly after the martial law period. In the lyrics, the notion of “nation” refers to those human beings who want to be freed from state power dependencies, and generally to people who transform their lives to promote such values as peace, non-violence, and ecology.
10. Lech Janerka, “Jest jak w niebie”
From: Historia Podwodna. Tonpress SX- T 70, 1987, 33⅓ rpm.
Lech Janerka – voc, bass; Bożena Janerka – viol; Janusz Rołt – drums, perc.; Krzysztof Pociecha – guitar.
After quitting Klaus Mittfoch, Lech Janerka released his debut LP “Historia Podwodna” of which such songs as „Jest jak w niebie“ and “Lola” are the epitomes of the artist’s mature songwriting. The lyrics on the album express Janreka’s unique sense of humor (based on unexpected metaphors, surreal associations, and word playing) and social critique aimed at both socialist regime institutions (ineffective authorities whose activities do not bring effects in real life) and the individuals who are entangled in institutional dependencies, non-efficient professions, or inadequate social relations.
11. Lech Janerka, “Lola (chce zmieniać świat)”
From: Historia Podwodna. Tonpress SX- T 70, 1987, 33⅓ rpm.
Lech Janerka – voc, bass; Bożena Janerka – viol; Janusz Rołt – drums, perc.; Krzysztof Pociecha – guitar.
12. Klaus Mittfoch, “O głowie”
From: Klaus Mittfoch. Tonpress SX- T40, 1984, 33⅓ rpm.
Lech Janerka – voc, bass; Marek Puchała – drums, perc.; Krzysztof Pociecha – guitar; Wiesław Mrozik – guitar.
The only Klaus Mittfoch’s album is considered as one of the most important Polish alternative LPs of the 80s and is often voted by the listeners as the best record of the era. Combining the post punk, New Wave and indie rock aesthetics musically (with references to Talking Heads, The Police, King Crimson or Wire), while in the lyrics, often using surrealist metaphors, Janerka ironically ridicules the absurd of socialist regime, its propaganda, nationalist attitudes and everyday life under the authorities who have no real social legitimization.
13. Klaus Mittfoch, “O głowie”
From: Klaus Mittfoch. Tonpress SX- T40, 1984, 33⅓ rpm.
Lech Janerka – voc, bass; Marek Puchała – drums, perc.; Krzysztof Pociecha – guitar; Wiesław Mrozik – guitar.
14. Kryzys, “Mam dość”
From: Kryzys 78– 81. Złota Skała GR 003 1994, MC cassette.
Mirosław Szatkowski – voc.; Ireneusz Wereński – bass; Robert Brylewski – guitar, voc.; Maciej Góralski – drums, perc.; Tomasz Świtalski – sax.
Kryzys (“Crisis”), led by lyricist Maciej Góralski and song-writer Robert Brylewski was one of the most important bands of the first wave of punk aesthetics in Poland. In such songs as “Święty Szczyt”, “Mam dość”, “Telewizja”, “Dolina Lalek”, “Wojny gwiezdne” or “Armageddon” they reported and commented on the problems of the young generation and presented the critical teenagers’ attitudes towards the state as such, adulthood, numerous social institutions (school, family, the work and occupation), the media on the one hand, and on the other, towards the peer pressure as well.
15. Kryzys, “Święty Szczyt”
From: Kryzys 78– 81. Złota Skała GR 003 1994, MC cassette.
Mirosław Szatkowski – voc.; Ireneusz Wereński – bass; Robert Brylewski – guitar, voc.; Maciej Góralski – drums, perc.; Tomasz Świtalski – sax.
16. Kult, “Tan”
From: Spokojnie. Polton LPP- 035, 1988 , 33⅓ rpm.
Ireneusz Wereński – bass; Janusz Grudziński – guitar, organ; Kazimierz Staszewski – voc. Krzysztof „Banan” Banasik – waltornia, tp.; Tadeusz Kisieliński – drums, perc.; Piotr Morawiec – guitar; Paweł Szanajca – sax.
Kult is the longest active Polish band originating from the punk/alternative rock movement of the early 80s. „Tan” combines post punk aesthetics with strong psychedelic influences. In the lyrics the bandleader Kazik Staszewski aims the critique at industrial system exploiting the workers of underdeveloped country leaving them no room for expression of individual tendencies and dispositions.
17. Kult, “Mieszkam w Polsce” (aka “Polska”)
From: Tan. Polton LPP-039, 1989, 33⅓ rpm.
Ireneusz Wereński – bass; Paweł Szanajca – sax.; Tadeusz Kisieliński – drums, perc.; Janusz Grudziński – guitar, organ; Kazimierz Staszewski – voc., sax.
Undoubtedly, „Polska” (supported later by the suggestive video by Jah Paszkiewicz) is one of the most important post punk songs of the 80s. It depicts the image of the country dominated by atrophy and disintegration of social and family relations, alcoholism, ugliness of Polish cities, and in general negative “grey” picture of everyday life stemming as a result of inefficient socialist regime.
18. Siekiera, “Ludzie Wschodu” (aka “Polska”)
From: Nowa Aleksandria. Tonpress SX- T 73, 1986, 33⅓ rpm.
Tomasz Adamski – vocals, guitar; Dariusz Malinowski – bass, voc.; Zbigniew Musiński – drums, perc., Paweł Młynarczyk – keybords.
After the first period of activity as a radical hardcore punk band, in the mid 80s Siekiera (a Polish word for an “axe”) changed their aesthetics into post-punk new wave direction. As a result they recorded their only album “Nowa Aleksandria” one of the most respected LPs of the era, depicting anarchist and individualistic attitudes of the bandleader Tomasz Adamski. His idiosyncratic and solipsistic lyrics often take surreal form backed by direct Killing Joke influences.
19. Siekiera, “Tak dużo, tak mocno” (aka “Polska”)
From: Nowa Aleksandria. Tonpress SX- T 73, 1986, 33⅓ rpm.
Tomasz Adamski – vocals, guitar; Dariusz Malinowski – bass, voc.; Zbigniew Musiński – drums, perc., Paweł Młynarczyk – keybords.