Moving to New York City in 1976, they frequently played at the "CBGB" and released a punk album titled "Young, Loud and Snotty", produced by Genya Ravan. Their song "Sonic Reducer" is often regarded as one of the classic songs from the genre, with the All Music Guide calling it "one of punk's great anthems."
Their record company pressured the group to change their look and sound to appeal more to the US mainstream (which had yet to embrace punk on the level seen in the UK) and this contributed to Dead Boys breaking up in 1979. A few months after the breakup the band had to reunite to record a live album and thus fulfill their contractual obligations. To exact revenge on Sire Records Bators purposely sang off mic and the resulting recording was unusable. When the material eventually surfaced on Bomp! Records, Bators had re-recorded the vocals in a studio.
Sire Records pressured the group to change their look and sound to appeal more to the US mainstream (which had yet to embrace punk on the level seen in the UK) and this contributed to DeadBoys breaking up in 1979.
The DeadBoys only had two official full lengths, however many labels have released rough material and outtakes in the years following their breakup.
Dead Girls, DeadBoys, Dead Things depicts a mid-21st century society consumed by its own consumerism: "designer dolls" (fully functioning androids) transmit a virus through sexual relations with humans that eventually infects female offspring, slowly transforming these children into dolls, beginning at about the time of puberty.
Hence the term, "Dead Girls" (and, as you might gather from the full title, the virus progresses to cross genders).
While Dead Girls could stand alone (not an uncommon trait for most trilogies), DeadBoys not only seems an unfinished work (also not uncharacteristic of trilogies), it is virtually incomprehensible without the framing first and third stories.
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