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One of the more popular and desirable releases on the timeless Dangerhouse label is the
Avengers - We Are The One single, and one of the more collectible Dangerhouse variations is the original first pressing of this record which comes in a sleeve that is different than that of subsequent pressings. This version is commonly referred to as the “crucifix sleeve”, because lead singer Penelope Houston is in a mock crucifixion pose on the cover. It’s a very cool and iconic photo, which is typical of Dangerhouse releases (the iconic nature, not the crucifixion pose).

Dangerhouse is a label that’s fetishized like only a select few others, the gold standard of early U.S. punk, hardcore, and “new wave” (early being ‘77-’79), and is also one of the most consistent labels I can think of content-wise. We Are The One itself is known for being one of the three records on the label with a female singer, each larger than life in their own ways. Penelope Houston was the woman that sang in the Avengers, often with a faux-British snarl, and at times with the kind of self-empowered, can-do, tough-girl vibe that Pat Benetar cultivated shortly thereafter in the mainstream. Typically when you see an Avengers write-up now the writer will go to great lengths to talk about how this is the precursor to Kathleen Hannah and all her half baked philosophy, but I think that’s quite a short sell for the band even if it was. Before anything else the Avengers could write a tune and a hook, something I’ve heard few self-proclaiming “Riot Grrrl” acts do, and that’s a big part of the Avengers’ charm.

Like the majority of the bands who did singles on Dangerhouse, this is their finest hour. We Are The One itself is the kind of anthem any straight ahead punk band aspires to write. You either open or close with this song. Car Crash and I Believe in Me feel like b-sides but only because the choruses aren’t as stadium sized as the opener. Actually I think they show a little more personality at least in the vocal, if for nothing else than being a little more spontaneous and spunky.

Note that the copy up for sale here has the blacked out “33 rpm” on the label (which is common for this pressing), and the sleeve has a smooth matte finish, as opposed to recent bootlegs where the sleeve is glossy.