Dead Kennedys
The Skateboard Party
Satelite County, Stuttgart, Germany September 13, 1982
Alabamahalle, Munich, Germany December 8, 1982
Soundboard Recordings
Sources Vary
Flac Level 8 24bit & MP3 320kbps
Cover Art Included
Rest In Peace D.H. Peligro 07/09/1959-10-28-2022
Lineage: Bootleg Vinyl > Hitachi ht-466 w Ortofon X5-mc-silver headshell wires and RCA plug > Captured with Auzentech Meridien 2g in 96/24 wav in Diamond Cut Audio 7.5 > Processed with Diamond Cut audio filters > Converted with Traders Little Helper > Flac Level 8
01 Man With The Dogs 3:04
02 Forward To Death/I Am The Owl 1:05
03 Kepone Factory 1:48
04 Life Sentence 3:10
05 Trust Your Mechanic 3:18
06 Moral Majority 2:37
07 Forest Fire 1:57
08 Winnebago Warrior 2:18
09 Police Truck 3:13
10 Bleed For Me 3:01
11 Holiday In Cambodia 4:19
12 Let’s Lynch The Landlord 2:47
13 Chemical Warfare 4:42
14 Nazi Punks Fuck Off 1:31
15 We’ve Got A Bigger Problem Now 4:21
16 Intermission With Heino 1:43
17 Too Drunk To Fuck 2:30
18 Kill The Poor 3:19
Total Playing Time: 50mn 50sc
Jello Biafra – lead vocals
East Bay Ray – guitars
Klaus Flouride – bass, backing vocals
D. H. Peligro – drums, backing vocals
I was introduced to The Dead Kennedys by my guitarist Cuzinlox. He played me In God We Trust Inc. and I was an instant fan. When people ask why Thrash Metal bands played so fast I would play that record and say exhibit A. The effect of Hardcore Punk music was huge on any Thrash/Speed Metal musician. Metallica name check The Misfits. Slayer says T.S.O.L. had a big impact on them. Overkill & Anthrax praise the complete New York City Hardcore scene for their sound. For my band Psychosis and fellow Michigan Thrashers Ruthless Horde it was The Dead Kennedys and Black Flag. Bottom line Hardcore Punk sent all of us on a crash course with a harder faster mentality in the music underground (yes!!)
Here's the obituary shared by BigO:
DH Peligro, Dead Kennedys’ longtime drummer, has died. The band confirmed the news on Instagram, writing, “Dead Kennedys’ drummer DH Peligro (Darren Henley) passed away in his Los Angeles home on October 28. Police on the scene stated that he died from trauma to the head caused by an accidental fall.” Peligro was 63 years old.
Former Dead Kennedys frontman Jello Biafra wrote: “Even behind the drum kit, he had presence. All animal instinct, he never played anything quite the same way twice. He was a born showman.” He went on to recall his first encounter with Peligro, watching his band SSI play at defunct San Francisco venue the Deaf Club. Peligro, in Biafra’s eyes, “stole the show” with his performance that night. “A free spirited African American force of nature… with this shit eating grin, a bandana on his head, and two kick drums, singing his ass off,” Biafra recalled.
Flea took to Instagram, saying “The first time I saw you play with the DK’s in ‘81 you blew my mind. The power, the soul, the recklessness.” Superchunk’s Jon Wurster posted a video of a Dead Kennedys set in San Francisco from 1984 with the words “DH Peligro has left the building. One of the absolute greats.”
Peligro made his recorded debut with Dead Kennedys on the 1981 EP In God We Trust, Inc, which famously marked the band’s first of many references railing against President Ronald Reagan. The record also includes their iconic hit “Nazi Punks Fuck Off.” Peligro’s hardcore drumming style continued in a modified form on the band’s sophomore album, 1982’s Plastic Surgery Disasters, and on through their next string of records: 1985’s Frankenchrist, 1986’s Bedtime for Democracy, and the 1987 compilation album Give Me Convenience or Give Me Death.
Following Dead Kennedys break up in December 1986, Peligro briefly joined Red Hot Chili Peppers in 1988. Peligro was also responsible for introducing Kiedis and Flea to then-teenager John Frusciante, who joined as their new guitarist shortly afterward.
Peligro was an early Black icon in the punk rock scene and was frequently outspoken about his experiences with racism while touring, including being denied entry into clubs his bands were scheduled to play. “Music would take me to places I wouldn’t normally go, and it’s fine while you were onstage, but when you got off, they’d get drunk and call you all kinds of names,” he told LA Weekly.
“You go down South, you go across the Midwest, then people were thinking that it was music for white people, or I was the janitor or security or something. You got to experience the racism firsthand, because everybody wasn’t as open-minded as they were in San Francisco. It’s a bit more open and accepted today, but there’s still pockets of people who want to use punk rock to create hate music. That angers me to no end.” - pitchfork.com, nme.com.
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