More than any other genre, I’m glad that I won’t ever be able to fully grasp how many punk bands came and went without releasing a proper disc or even making enough noise for me to have ever heard of ‘em. That’s boss. And while punk, as a whole, can be perceived as a varied music, some of the best stuff is just simple, bash your head against the wall simplicity – no more, no less, just pure impact. More specifically, though, I would imagine that the south still has more dusty, untold gems than any northern destination. Punk is a pretty urban thing. And while weird wherever it was, punk was probably a bit more palatable in a few erudite, metropolitan areas.

Coming outta Louisiana, the Normals probably should have been as big as any other second tier punk act – that’s not meant as a slight, but the quartet wasn’t the Ramones, the Dead Boys or Black Flag. Regardless of that, the ensemble – made up of David Brewton (guitar/vox), Charlie Hanson (guitar/vox), Chris Luckette (drums/vox) and Steve Walters (bass) – almost approximated pieces of each of those aforementioned bands into its sound. It wasn’t always a pretty amalgamation of noise, but when in sloppy rock territory, the Normals almost reached the heights of the Ramones – almost.

As was the lot of so many bands from the first wave of American punk, the Normals didn’t release a proper full length, being able only to muster enough backing and interest in 1978 for a lone single - “Almost Ready” b/w “Hardcore.” While the b-side was neither hardcore, nor particularly good, “Almost Ready” could have found its home on any of the numerous KBD compilations from years gone by. The vocal approach, that assimilates Joey Ramone and a bit of sugary ‘60s pop harmonies, makes the quick step drumming and effectively simple guitar come off as a perfect confection.

It could be considered the highlight of the Normals recorded out put – it might be. But compiled onto Your Punk Heritage (1977-84) are the rest of the demos, live tracks and even a few radio ads that the band had lying around. Paired down from the 23 tracks here, it could have made for a startling and succinct record. Instead, the Normals, over a seven year period, shift into a radio friendly territory represented on some of those live tracks. It was most likely a calculated metamorphosis predicated as much on the band’s interests in addition to everyone’s desire to get a record deal. “You Ain’t Nothin’” might be pop nonsense, but the brief glory of its guitar solo should invite listeners to imagine what the band could have accomplished if given a shot.

The entirety of Your Punk Heritage (1977-84) isn’t anywhere near perfect, but again songs like “Yankee Dollar,” that seem almost tossed off due to the absurdist lyrical content, are even able to summon images of the Professionals in their post-Sex Pistols prime. I honestly have no idea if this comp is even available any longer, but dig it well.