Honey Bane - Guilty 7'' and The Damned - Friday 13th 7'' EP

Honey Bane began her musical career at the age of 14 in 1978 when she formed the punk rock band the Fatal Microbes. The band released a split 12" record with anarcho-punk band Poison Girls the same year. The first single, "Violence Grows" garnered some press attention and was given positive reviews by the British music paper Sounds.

After the 1979 breakup of the Fatal Microbes, and a stint in a juvenile detention facility that garnered more press attention, Bane began a collaboration with Crass while she was on the run from the Social Services after serving a sentence at the St. Charles Youth Treatment Centre in Essex. Lending lead vocals and backed by the band under the name Donna and the Kebabs, Crass released the EP You Can Be You in 1979. It was the debut release on Crass' newly found label, Crass Records. The following year, Bane released her debut solo single, 'Guilty' and sang vocals for Killing Joke on "What's the Matter" during a February 1980 gig at London's Venue club.

Honey Bane's "Guilty" 7" vinyl is a landmark independent post-punk single released in 1980 on her self-titled Honey Bane Records imprint (Catalog: HB 946). Peaking at Number 9 on the UK Indie Chart, the record bridges early anarcho-punk rebellion with a brooding, bass-driven reggae-dub aesthetic across its primary track and its B-side companion, "Guilty Dub". Pressed in France for the UK market, the release is highly recognizable for its distinct, minimalist typographic picture sleeves distributed with either vibrant pink lettering or bright yellow variations.

Honey Bane's "Guilty" 7" vinyl is a landmark independent post-punk release from 1980 that beautifully captures the transition of UK subculture from raw anarcho-punk to experimental dub. Released on her eponymous Honey Bane Records (Catalog: HB 946) following her departure from the Fatal Microbes and a high-profile stint in a juvenile facility, the single peaked at Number 9 on the UK Indie Chart. The A-side delivers a brooding, bass-driven post-punk track layered with Bane's distinctively defiant, razor-sharp vocals. It stands as a gripping critique of societal judgement, shedding the frantic tempo of her early work with Crass Records in favour of a more calculated, atmospheric groove.

The true brilliance of this independent pressing lies in its cohesiveness, particularly showcased on the B-side's "Guilty Dub". By stripping away the vocal-heavy narrative and leaning hard into echoing, cavernous space and prominent bass lines, the record bridges the gap between classic London punk rebellion and the emerging UK reggae-dub scene. Pressed in France for the UK market, the physical single remains highly identifiable by its minimalist, DIY aesthetic—distributed in distinct color-coded typographic picture sleeves featuring either vibrant pink or bright yellow lettering. For collectors of early 1980s new wave and post-punk history, it is an essential sonic document of a teenage rebel navigating her artistic independence before signing to major labels

The Damned's Friday 13th EP was issued as the result of a one-off deal with the NEMS Records label. It was released on 13 November 1981, which just happened to fall on a Friday. The EP was released in the UK and Sweden on 7" and also in Germany on 12" (the German 12” is the version to get). In 1981, EPs were still eligible for the UK Top 75 Singles chart, and Friday 13th reached the heady heights of  No. 50. The lead-off track, "Disco Man", was featured on a large number of compilations, also becoming a live favourite. Two of the other three tracks, "Billy Bad Breaks" and "Limit Club", were composed by the band; the final track was a cover version of The Rolling Stones song "Citadel”. The extended play captures the band's legendary transition from first-wave punk rock into a darker, atmospheric gothic sound. Recorded at the famous Rockfield Studios, the record spreads its four distinct numbers evenly across both sides—leading with the frantic anthem "Disco Man" and the somber tribute "The Limit Club" on Side A, followed by "Billy Bad Breaks" and a chaotic cover of the Rolling Stones' "Citadel" on Side B. Packaged in a striking, classic horror-influenced picture sleeve, this specific EP remains a highly prized artifact for vinyl collectors tracking the early 1980s post-punk landscape.

The Vanian/Sensible/Scabies/Gray line-up has always been my favourite, and this EP as an example of just how good they were in the early 80s. I went through a phase of listening to Friday 13th on repeat a couple of years ago because "The Limit Club" is quite possibly one of the best songs The Damned ever did and sadly is so underrated.

I had a dream or was it true

I saw the sun set low on you

In a blood red sun's final rays

We laughed at that subtle shadow play...

"The Limit Club" is proof that The Damned really were at their peak at this time after the punk and before the goth-pop. Melancholic, swooning, psychedelic-tinged….heaven.

The Damned's "Friday 13th EP" is a masterclass in transitional post-punk, capturing the band at a fascinating creative crossroads where first-wave punk energy meets experimental gothic rock. The double-track A-side launches with "Disco Man," a driving, infectious anthem fueled by Captain Sensible’s razor-sharp guitar hooks and Dave Vanian’s smooth baritone delivery. Immediately following is "The Limit Club," a haunting, melodic standout written as a poignant tribute to the late Malcolm Owen of The Ruts. This track significantly shifts the mood of the record, leaning heavily into a brooding, atmospheric space that would come to define the UK gothic rock movement.

Flip the 7" record over, and Side B maintains the momentum by showcasing the band's versatility and irreverent roots. "Billy Bad Breaks" delivers a dose of classic, high-octane punk chaos, driven by Phil Burns' frantic organ work and a relentless rhythm section. The EP culminates in a wildly energetic, psychedelic-punk cover of the Rolling Stones' "Citadel," a track that perfectly highlights the band's classic 1960s garage rock influences. From the unhinged studio chemistry to the iconic horror-inspired sleeve art, this balanced four-track collective is a cohesive, essential spin for both completionists and casual fans of the era.

Ripped to MP3 @ 320kbps

Honey Bane; Gulity

A.     Guilty

B.     Guilty (Dub)

Also Ripped to MP3

The Damned; Friday 13^th EP

A1.  Disco Man

A2.  Limit Club

B1.  Billy Bad Breaks

B2.  Citadel