Skrewdriver
Skrewdriver was an English rock band formed in 1976 in Poulton-le-Fylde, Lancashire, by Ian Stuart Donaldson (11 August 1957 – 24 September 1993), who remained its lead vocalist, guitarist, and principal songwriter until his death in a car accident.[1][2] Initially operating as a punk rock outfit with an apolitical stance, the group released its debut album All Skrewed Up in 1977 before disbanding in 1979 amid lineup instability.[1][3] The band reformed in 1982 under Donaldson's direction, adopting a skinhead musical style influenced by the oi! genre and producing a series of albums on independent labels like Rock-O-Rama, including Hail the New Dawn (1984) and Blood & Honour (1985).[1] These recordings featured lyrics emphasizing white ethnic identity, opposition to immigration, and anti-communist sentiments, which garnered a dedicated following within nationalist subcultures while provoking bans from mainstream venues and distributors.[1][2] Donaldson co-founded Blood & Honour in 1987 as a concert promotion network to sustain this music scene after record label rejections, drawing its name from a historical motto and organizing events across Europe.[2][4] Skrewdriver's output, spanning over a dozen studio albums and numerous singles until 1993, positioned it as a foundational act in the rock against communism movement, though its explicit advocacy for racial separatism led to legal restrictions in multiple countries and condemnation from anti-extremist organizations.[1][5] The band's persistence despite frequent member turnover and external pressures underscored Donaldson's commitment to its ideological core, cementing its legacy as a polarizing force in underground music history.[1][2]
Origins and Punk Era (1976–1981)
Formation and Initial Sound
Skrewdriver originated in late 1975 as an evolution from Tumbling Dice, a local cover band in Poulton-le-Fylde near Blackpool that performed Rolling Stones songs and other rock standards.[6] In 1976, Ian Stuart Donaldson, the frontman of Tumbling Dice, formed Skrewdriver as a punk rock outfit after attending a Sex Pistols concert in Manchester, which catalyzed his shift from rock covers to the emerging punk aesthetic.[3] The band's inception involved merging members from Tumbling Dice with those from the local group Warlock, establishing an initial lineup of Donaldson on vocals, Phil Walmsley on guitar, Kevin McKay on bass, and John "Grinny" Grinton on drums.[3] The group's early sound was characterized by raw, aggressive punk rock, featuring fast tempos, simplistic structures, and high-energy riffs influenced by first-wave acts like the Sex Pistols, New York Dolls, and Eddie and the Hot Rods.[3] [6] Lyrics focused on themes of rebellion, street life, and interpersonal disdain, delivered with Donaldson's snarling vocals over distorted guitars and pounding rhythms, aligning with the non-political, apolitical ethos of mid-1970s UK punk before subcultural divergences.[6] This sound debuted in small venues, including a London appearance at the Roxy supporting Johnny Moped on 16 April 1977, where the band showcased their unpolished, high-octane style amid the burgeoning punk scene.[3] Securing a deal with Chiswick Records shortly after formation, Skrewdriver's initial output emphasized their punk roots, with recordings capturing the era's DIY ethos—such as their debut album All Skrewed Up pressed at 45 rpm across 12 tracks for intensified speed and urgency.[6] [3] At this stage, the band maintained a punk image with leather jackets and spiked hair, distinct from later skinhead associations, and avoided explicit ideological content, prioritizing musical aggression over manifestos.[3]Early Releases and Punk Scene Involvement
Skrewdriver released their debut single, "You're So Dumb" backed with "Better Off Crazy," in October 1977 on Chiswick Records, marking their entry into the UK punk market with raw, aggressive tracks typical of second-wave punk acts.[7] The single captured the band's high-energy style, featuring fast tempos and Ian Stuart Donaldson's snarling vocals, though it achieved limited commercial success amid a crowded punk scene.[8] A follow-up single, "Antisocial" with a cover of the Rolling Stones' "Breakdown," followed in early 1978, further showcasing their cover-heavy approach and DIY ethos, which aligned with punk's emphasis on rebellion against musical conventions.[1] The band's sole punk-era album, All Skrewed Up, appeared in November 1977 on Chiswick Records, comprising 14 tracks recorded in a single day for £40, including originals like "Where's Captain Tom" and covers such as "No Class" by Motörhead.[9] Issued in multiple sleeve colors (green, red, blue, yellow) to evoke punk's chaotic aesthetic, the LP received modest critical notice for its unpolished fury but sold poorly, reflecting Skrewdriver's status as a regional act from Blackpool rather than a London-centric headliner.[10] Chiswick, known for signing acts like The Damned and Purple Hearts, provided legitimacy within indie punk circles, though the album's reception highlighted Skrewdriver's technical limitations compared to polished contemporaries.[11] In the UK punk scene of the late 1970s, Skrewdriver operated as a typical second-generation outfit, gigging extensively in northern England and gaining traction in London venues like the Roxy and Vortex, where they shared bills with bands embodying punk's anti-establishment vibe.[3] Formed in Poulton-le-Fylde, Lancashire, in late 1976, the band drew from skinhead influences but remained apolitical, focusing on themes of alienation and street life without explicit ideological leanings that would later define them.[12] Their involvement mirrored broader punk dynamics, including clashes with authorities and rival factions, yet they avoided the overt activism of groups like Crass, positioning instead as energetic performers appealing to working-class audiences in clubs and squats.[8] By 1979, lineup instability and waning punk momentum contributed to their initial hiatus, but their early output endured as artifacts of the era's raw underbelly.[1]Dissolution Amid Changing Contexts
By the late 1970s, Skrewdriver's performances increasingly drew skinhead audiences, whose rowdy behavior escalated into frequent brawls with opposing groups like mods or punks, resulting in gig cancellations and difficulties securing venues. This shift in crowd dynamics strained the band's operations, as promoters avoided the violence associated with their shows.[8] Guitarist Phil Walmsley exited in 1980 amid internal conflicts, citing disagreements over publishing rights for their material and reluctance to fully embrace the skinhead aesthetic that Ian Stuart Donaldson was pursuing. With Walmsley's departure, the original lineup—comprising Donaldson on vocals, Kevin McKay on bass, and John "Grinny" Grinton on drums—fractured irreparably.[3] The band's dissolution in 1981 coincided with broader transformations in the UK punk landscape, where many acts transitioned to post-punk experimentation, synth-driven new wave, or disbanded entirely, leaving raw Oi!-adjacent sounds marginalized outside niche working-class circles. Skrewdriver's unyielding aggressive punk style, now inextricably linked to a polarizing skinhead subculture amid rising urban tensions, isolated them from mainstream punk circuits and labels. Donaldson, however, retained the name for a reformed iteration aligned with that subculture.[8][3]Reformation and Nationalist Evolution (1982–1993)
Shift to Oi! and RAC Identity
Following the original lineup's dissolution amid lineup changes and a fatal car accident involving drummer Kev McKay in October 1982, Ian Stuart Donaldson reformed Skrewdriver in early 1982 with a new roster including guitarist Tony "Grif" Griffiths and bassist Dennis Peace. This reformation pivoted the band from apolitical punk aggression to the Oi! genre, a raw, rhythmic offshoot of punk emphasizing stomping beats, gang choruses, and anthemic simplicity tailored to working-class skinhead audiences. The change reflected broader subcultural dynamics in early 1980s Britain, where Oi! compilations like Oi! The Album (1980) had popularized skinhead revivalism amid economic stagnation and urban tensions, though Skrewdriver's iteration infused explicit nationalist undertones absent in many Oi! acts.[13][14] Visually and sonically, the band embraced skinhead iconography—shaved heads, Doc Martens boots, braces, and Fred Perry shirts—distinguishing their post-punk phase from the original's longer hair and standard punk attire. Donaldson's leadership steered Skrewdriver toward Rock Against Communism (RAC), a musical counter-movement to Rock Against Racism (RAR), which he viewed as a communist-front infiltration of youth culture; RAC events and recordings promoted anti-communist, pro-nationalist themes through skinhead-oriented rock. This identity crystallized with the band's 1983 single "White Power"/"Prisoners of Peace," released on the independent White Noise label, featuring lyrics advocating racial separatism and opposition to immigration—marking Skrewdriver's debut as RAC progenitors and influencing subsequent acts in the genre.[15][16] The RAC alignment stemmed from Donaldson's activism with the National Front (NF), a British nationalist party, where he organized concerts to fundraise for NF campaigns starting around 1982; these gigs drew skinhead crowds alienated by RAR's anti-fascist stance and perceived endorsement of multiculturalism amid rising non-white immigration statistics, which reached over 2 million in the UK by 1981 per census data. While Oi! broadly celebrated proletarian resilience without uniform ideology, Skrewdriver's explicit fusion with RAC—evident in bootleg live tapes from 1982 NF rallies—co-opted the genre's energy for white preservationist messaging, establishing the band as a nexus for nationalist skinhead music despite backlash from mainstream labels and anti-racism groups. Academic analyses note this evolution as a parasitic adaptation of Oi!'s apolitical roots by far-right activists, though empirical attendance at early RAC shows indicates primary appeal to disaffected white youth in deindustrialized areas like Lancashire and the Midlands.[14][13]Core Lineup and Touring Activities
Following the band's 1982 reformation, Ian Stuart Donaldson served as the constant lead vocalist, guitarist, and primary creative force, with instrumental roles filled by a series of rotating members amid recruitment challenges stemming from the group's emerging nationalist orientation and associated reputational risks.[17] The initial post-reformation lineup in 1982 comprised Donaldson alongside bassist Mark French, guitarist Mark Neeson, and drummer Geoff Williams, enabling the recording of early Oi!-style material like the "White Power" single.[17] By 1984, for the album Hail the New Dawn, the configuration had evolved to include bassist Mark Sutherland, guitarist Adam Douglas, and drummer Murray Holmes, reflecting ongoing adjustments to sustain activity.[17][18] Lineup flux continued into the late 1980s, with Sutherland remaining a recurring presence; by 1987, album artwork credited Donaldson, Sutherland, guitarist Martin Cross, bassist Ross McGarry, keyboardist Merv Shields, and drummer John Burnley, supplemented by vocalist Steve Calladine (known as Stigger).[17] Additional recruits, such as bassist John Hickson in 1990 for The Strong Survive, further exemplified the transient nature of the personnel, as members departed due to external pressures including legal scrutiny and physical threats.[17] This revolving structure allowed Donaldson to maintain output through over a dozen releases but underscored the operational difficulties of operating outside mainstream music circuits.[1] Skrewdriver's touring recommenced intensively in 1982, focusing on UK and European venues to build a dedicated skinhead following within the Oi! and Rock Against Communism (RAC) subcultures, despite widespread venue cancellations and police interventions.[17] Donaldson co-founded the Blood & Honour network in 1987 specifically to coordinate gigs for like-minded acts, facilitating secretive performances that bypassed mainstream promoters and evaded bans in countries like Germany and Sweden.[19][17] Tours often drew hundreds to thousands of attendees, promoting albums such as White Rider (1987) and Warlord (1989) live, but routinely sparked confrontations with leftist counter-protesters, as seen in the 1992 "Battle of Waterloo" in London, where a planned Blood & Honour event led to street clashes involving over 100 participants.[20][21] Performances extended to continental Europe, including a May 22, 1993, show in Eberdingen, Germany, shortly before Donaldson's fatal car accident on September 24 of that year, which halted operations.[22] These activities, totaling dozens of documented appearances, prioritized ideological outreach over commercial viability, with events emphasizing nationalist anthems and fostering alliances among RAC bands, though frequently curtailed by arrests or venue shutdowns.[17][20]Major Releases and Commercial Efforts
Skrewdriver's primary studio album in the early reformation phase was Hail the New Dawn, released in 1984 by Rock-O-Rama Records, a German independent label focused on Oi! and emerging RAC material.[23][24] The record featured 16 tracks blending punk aggression with lyrics promoting white identity and opposition to multiculturalism, establishing the band's template for subsequent output.[25] This was succeeded by Blood & Honour on May 11, 1985, also via Rock-O-Rama, which included the title track as a rallying anthem for nationalist skinheads and expanded the band's thematic focus on historical revisionism and anti-communism.[26] Later releases encompassed Warlord in 1986, Voice of Britain—a compilation of singles and demos—in 1987, and The Terminator in 1989, with distribution shifting toward labels like White Noise Records, operated by Ian Stuart Donaldson to support RAC acts.[27][28] Commercial activities operated outside mainstream avenues, relying on mail-order catalogs, specialist retailers, and concert merchandise sales within European skinhead networks. Rock-O-Rama facilitated initial European-wide dissemination but encountered bans and seizures in countries like the UK and Germany due to content classifications as extremist propaganda, prompting Donaldson to co-found the Blood & Honour promotional network in 1987 for coordinating gigs, recordings, and fan outreach.[29] This structure emphasized self-sufficiency in the niche RAC market, where Skrewdriver's output drove demand for affiliated bands and events despite pervasive legal restrictions.Ideology and Lyrical Content
Transition from Apolitical Punk to Identity Politics
Skrewdriver's initial incarnation from 1976 to 1978 featured lyrics centered on themes of youthful rebellion, anti-authoritarianism, and interpersonal disdain, without explicit references to racial or ethnic identity. Songs from their debut album All Skrewed Up (released November 1977 on Chiswick Records), such as "You're So Dumb," "I Don't Like You," and "Government Action," critiqued societal norms and authority figures in a manner typical of contemporaneous punk acts, lacking the nationalist or anti-immigration content that characterized their later output.[3][30] The band's adoption of a skinhead aesthetic by mid-1977 attracted rowdy audiences prone to violence at gigs, including their London debut at the Roxy on 16 April 1977, but the group maintained a non-political stance publicly, as evidenced by their signing with a mainstream punk label and avoidance of partisan affiliations in early interviews.[3] The band's dissolution in January 1978 stemmed from escalating concert disruptions and label pressures, with Chiswick Records canceling a planned single "Streetfight" amid concerns over associated hooliganism, leading to their effective blacklist from the punk circuit.[3] During the interim period, frontman Ian Stuart Donaldson and drummer Richard "Grinny" MacDonald joined the National Front in 1980, marking a personal pivot toward organized nationalism amid rumors of earlier sympathies that Donaldson initially denied in late 1979.[3] This radicalization aligned with broader skinhead subcultural tensions in late 1970s Britain, where working-class youth grappled with economic decline and perceived cultural erosion, though the band's punk-era output remained devoid of such ideological markers.[31] Reformation in 1982 under Donaldson's leadership transformed Skrewdriver into an Oi!-inflected outfit with overtly nationalist lyrics, as seen in releases like the Back with a Bang EP, which introduced themes of racial solidarity and opposition to multiculturalism absent from prior material.[3] The shift reflected Donaldson's embrace of white identity politics, influenced by exclusion from the left-leaning punk establishment and immersion in skinhead networks, positioning the band as pioneers in what became known as Rock Against Communism. This evolution from generic punk antagonism to explicit advocacy for ethnic preservation was not a seamless progression but a deliberate reorientation post-split, coinciding with the Oi! movement's rise yet diverging into politicized territory.[14][31]Key Themes: Nationalism, Anti-Immigration, and Cultural Preservation
Skrewdriver's lyrics following their 1982 reformation prominently featured white nationalism, portraying the white race and British heritage as under existential threat and requiring militant defense. Songs such as "Race and Nation" (from the 1986 album Blood & Honour) explicitly affirmed belief in the "White race / A race apart," linking racial identity to national loyalty and sovereignty.[32] This theme aligned with frontman Ian Stuart Donaldson's activism in the National Front, where he framed nationalism as a bulwark against perceived demographic dilution.[14] Donaldson described the band's music as awakening listeners to the "Whiteman's cause," emphasizing ethnic solidarity over civic universalism.[33] Anti-immigration sentiments formed a core motif, with lyrics decrying non-European influx as an invasion eroding native rights and resources. In "Free My Land" (from the 1991 album Freedom What Freedom), Donaldson sang of immigrants "taking away" the country alongside "left wing lies," urging resistance to repatriate sovereignty.[34] Similarly, "Before The Night Falls" (1985 compilation track) criticized parliament for favoring "immigrants... from the jungles and from trees" with taxpayer funds, portraying this as betrayal enabling cultural conquest.[35] These narratives drew from 1980s British debates on immigration, where Skrewdriver amplified far-right concerns about urban decay and welfare strain, as evidenced in their alignment with groups like the British National Party.[29] The band's output, distributed via labels like Rock-O-Rama, reached international nationalist networks, reinforcing calls for halted migration to avert "race replacement."[36] Cultural preservation emerged as intertwined with these themes, advocating retention of European traditions against multiculturalism and communism. "Europe Awake" (1994 album Hail the New Dawn) lamented the loss of "heritage that once was yours and mine," attributing street crime and elder vulnerability to alien influences and leftist policies.[37] Tracks like "Pride of a Nation" (1987 single) evoked historical glory to rally against erosion by globalism, positioning Skrewdriver as stewards of Aryan folklore and folkways.[38] This rhetoric, rooted in Donaldson's Blood & Honour network, prioritized ethno-cultural continuity, viewing assimilation or diversity as genocidal.[39] While critics from academic analyses often frame these as xenophobic, the lyrics themselves derive from primary releases, unmediated by institutional filters prone to downplaying native preservationist arguments.[14]Comparisons to Broader Punk Critiques of Society
Skrewdriver's post-reformation output channeled punk's foundational anti-establishment ethos by decrying perceived cultural erosion and institutional overreach, particularly through opposition to mass immigration and multiculturalism, which the band portrayed as elite-orchestrated assaults on native working-class communities in 1970s and 1980s Britain.[14] This mirrored broader punk critiques of societal conformity and authority, as seen in the genre's rejection of mainstream norms and promotion of individual rebellion against systemic stagnation, though Skrewdriver redirected such dissent toward identity-based preservation rather than universal anarchism.[40] Their Oi!-infused sound and lyrics on albums like Hail the New Dawn (1982) echoed punk's raw, proletarian anger at economic marginalization, akin to how bands like The Clash lambasted unemployment and urban decay under Thatcherism, but Skrewdriver attributed these ills causally to demographic shifts rather than solely capitalist exploitation.[41] In contrast to punk's dominant strains, which often intertwined anti-authoritarianism with anti-racism and cosmopolitan individualism—evident in the Sex Pistols' chaotic broadsides against monarchy and media control—Skrewdriver's framework prioritized ethno-nationalist solidarity as a bulwark against what they viewed as state-subsidized dilution of British heritage.[42] This divergence highlighted punk's ideological spectrum: while mainstream acts like Crass advanced explicit anarchist pacifism, Skrewdriver's evolution drew from Oi!'s authentic working-class roots, critiquing the same post-industrial alienation but positing racial homogeneity as essential for communal resilience, a stance that resonated in skinhead subcultures amid rising unemployment rates exceeding 3 million in the UK by 1983.[43] Analysts note this as a co-optation rather than outright invention, with Skrewdriver adapting punk's oppositional aesthetics to far-right metapolitics, thereby sustaining the genre's DIY defiance but inverting its typical aversion to hierarchy into defense of folkish traditions.[36] Ultimately, Skrewdriver exemplified punk's paradoxical capacity for divergent societal indictments, where both the band's anti-communist, pro-Britannia anthems and punk's wider anti-fascist refrains stemmed from a shared causal realism about power structures alienating youth, yet diverged in remedies—globalist subversion versus cultural retrenchment.[44] This tension underscores punk's non-monolithic nature, as empirical variances in fan bases revealed conservative undercurrents within early adopters, challenging narratives of uniform leftism in the movement.[6]Band Members
Original Punk-Era Personnel
Skrewdriver was founded in late 1976 by Ian Stuart Donaldson in Poulton-le-Fylde, Lancashire, initially as a punk rock outfit influenced by the emerging UK scene following Donaldson's attendance at a Sex Pistols concert in Manchester.[1] [45] The band's debut album, All Skrewed Up, released in September 1977 on Chiswick Records, featured the core original lineup responsible for their early punk sound.[9] The primary personnel for this period included Donaldson as lead vocalist and rhythm guitarist, providing the band's driving energy and songwriting foundation.[9] Supporting him were dual lead guitarists Phil Walmsley and Ron Hartley, whose contributions shaped the raw, aggressive riffs characteristic of first-wave punk.[9] [46] Bass duties were handled by Kevin "Kev" McKay, while John "Grinny" Grinton played drums, delivering the fast-paced backbeat essential to tracks like "Where's It Gonna End" and "Anti-Social." This configuration recorded the album at Revolution Studios in Manchester, engineered by Neil Richmond under producer Roger Armstrong.[9]| Member | Instrument | Active Period (Punk Era) |
|---|---|---|
| Ian Stuart Donaldson | Vocals, Rhythm Guitar | 1976–1979 |
| Phil Walmsley | Lead Guitar | 1976–1978 |
| Ron Hartley | Lead Guitar | 1977–1978 |
| Kevin "Kev" McKay | Bass | 1976–1980 |
| John "Grinny" Grinton | Drums | 1976–1978 |
Nationalist-Era Core and Rotating Members
Ian Stuart Donaldson remained the band's sole constant member following its reformation in late 1982, handling lead vocals and guitar duties until his death on September 24, 1993.[1] This period marked a shift to a more fluid structure, drawing from a pool of musicians aligned with the Rock Against Communism (RAC) scene, often recruited informally through live performances and personal networks rather than fixed commitments.[1] Unlike the original punk-era lineup, which dissolved amid internal disputes and commercial failure by 1980, the nationalist phase prioritized ideological consistency over stable personnel, resulting in high turnover driven by legal issues, relocations, and the underground nature of RAC activities.[1] The core instrumental roles—bass, second guitar, and drums—saw multiple incumbents, with no single musician serving beyond a few years consecutively. Early post-reformation efforts, such as the 1983 single "Back with a Bang," credited initial collaborators like Mark French on bass, Mark Neeson on guitar, and Geoff Williams on drums, who contributed to foundational RAC recordings before departing around 1984.[1] Subsequent lineups incorporated figures like Paul Swain on guitar (1984–1987) and John Burnley on drums (1987–1992), who provided continuity for key albums including Hail the New Dawn (1982, reissued contextually) and Blood & Honour (1987).[1] Bass positions rotated frequently, with Merv Shields (1986–1989) and Jon Hickson (1990–1993) handling duties on later releases like The Terminator (1991).[1]| Member Name | Role | Active Period |
|---|---|---|
| Mark French | Bass | 1982–1984 |
| Mark Neeson | Guitar | 1982–1984 |
| Geoff Williams | Drums | 1982–1984 |
| Paul Swain | Guitar | 1984–1987 |
| Merv Shields | Bass | 1986–1989 |
| John Burnley | Drums | 1987–1992 |
| Steve Calladine | Guitar, Piano | 1990–1993 |
| Jon Hickson | Bass | 1990–1993 |
Discography
Studio Albums
Skrewdriver's studio output spans their initial punk phase and subsequent reformation as an Oi!-style band led by Ian Stuart Donaldson, with releases shifting from apolitical aggression to explicitly nationalist content after 1982.[1] The band produced eight full-length studio albums in total, primarily distributed through independent labels amid growing restrictions on mainstream availability due to lyrical themes.[1] Production quality varied, often featuring raw recording techniques reflective of underground punk and Oi! aesthetics, with Donaldson handling vocals, guitar, and primary composition across the later works.[27]| Title | Release Year | Label |
|---|---|---|
| All Skrewed Up | 1977 | Chiswick Records |
| Hail the New Dawn | 1984 | Rock-O-Rama |
| Blood & Honour | 1985 | Rock-O-Rama |
| White Rider | 1987 | Rock-O-Rama |
| After the Fire | 1988 | Rock-O-Rama |
| Warlord | 1989 | Rock-O-Rama |
| The Strong Survive | 1990 | Rock-O-Rama |
| Freedom What Freedom | 1992 | Rock-O-Rama |
EPs and Singles
Skrewdriver's early punk-era output consisted primarily of 7" singles on Chiswick Records, reflecting their raw, apolitical skinhead punk sound, followed by a transitional EP on TJM Records.[52] After reforming in 1982 with an explicit nationalist orientation, the band released additional singles and EPs through independent labels like White Noise Records and Rock-O-Rama, often limited-edition vinyl pressings distributed within Oi! and skinhead circles.[1] These releases featured shorter tracks emphasizing direct, aggressive themes aligned with the band's evolving ideology, contrasting the longer formats of their studio albums.[52] The following table enumerates key EPs and singles, focusing on original official releases:| Title | Year | Format | Label | Country | Key Tracks (A-Side / B-Side(s)) |
|---|---|---|---|---|---|
| You're So Dumb | 1977 | 7" | Chiswick | UK | You're So Dumb / Better Off Crazy |
| Antisocial | 1977 | 7" | Chiswick | UK | Antisocial / 19th (Nervous) Breakdown |
| Streetfight | 1978 | 7" | Chiswick | UK | Streetfight / Unbeliever |
| Built Up, Knocked Down | 1979 | 7" EP | TJM | UK | Built Up, Knocked Down / A Case of Pride / Breakout |
| White Power | 1983 | 7" EP | White Noise | UK | White Power / Smash the I.R.A. / Shove the Dove |
| Voice of Britain | 1984 | 7" | White Noise | UK | Voice of Britain / Sick Society |
| On the Streets | 1983 | 7" | Rock-O-Rama | Germany | On the Streets / Invasion |
| Alabama | 1989 | 7" | Street Rock 'n' Roll | Germany | Alabama / After the Fire |
| Their Kingdom Will Fall | 1989 | 7" | Street Rock 'n' Roll | Germany | Their Kingdom Will Fall / Simple Man |
| The Evil Crept In | 1989 | 7" | Street Rock 'n' Roll | Germany | The Evil Crept In / Glory |
| Stand Proud | 1990 | 7" | Street Rock 'n' Roll | Germany | Stand Proud / Backstabber |
| Warzone | 1990 | 7" | Street Rock 'n' Roll | Germany | Warzone / Shining Down |