(inserts smiley face with double thumbs-up icon thingy)
Their last 3 albums had me jumping round the kitchen like a loony, and I reckon the new one – out at the end of March – might have the same effect.
Just me then …
What does it sound like?:
Cherry Red’s latest box set takes a tour of the time period after the snot and anarchy had subsided
But … what is “Post Punk”? Being literal about it, it’s anything that came after the initial burst of Punk. But nothing is that simple (is it ever?).
Angular, edgy, industrial, dark, experimental – all terms used to try and define what Post-Punk was. The genre “Post-Punk” is a retrospective term applied to bands that flourished to greater critical acclaim than perhaps commercial success, and didn’t fit the neat pigeon holes of known genres Originally labelled in the music press as “New Musick”, bands took inspiration from the freedom offered by Punk, and expanded the template from the 3 chord thrash and re-cycled Chuck Berry riffs, to include anything and everything they felt inspired by (Berlin-period Bowie, krautrock, electronica, dub reggae, jazz, funk, disco, poetry, literature, political theory – whatever the influence or thought, it probably found it’s way onto record). Post-Punk wasn’t a “new thing”, a reaction to anything, or a bandwagon to be jumped on – most of the bands were already in existence ploughing their own furrows. With fortuitous timing, the initial » Continue Reading.
Whilst mooching round the loft at the weekend, I stumbled across (literally) a box containing 50 or 60 Bootleg tapes. These were bought at Concerts, Festivals and (strangely?) Record Fairs in the late 80s and early 90s. Instantly recognisable by the flourescent inlay cards, letraset titles and faded Times New Roman typewritten tracklisting.
These served a number of purposes 1. A momento of a gig you were at 2. Long lost or hard to get demo recordings 3. The promise of a “new” track (which usually meant a mis-credited title)
Invariably, live recordings were often pretty ropey, sounding like they were recorded on a Walkman (which they were) with every cheer, shout, fight, and out of tune sing-a-long all preserved on tape.
Sometimes though, you may come across “cassette gold” – I bought a tape of Jam demos at a Record Fair. Most of these tracks ending up on the Extras album 4 years later.
As a self-perpetuating business, all you needed was a stack of coloured paper, some sticky letters, access to a photocopier and a tape-to-tape machine. You too could be selling 5th generation copies of badly recorded gigs, or muffled demos to slightly drunk punters at the » Continue Reading.
Well, never mind the bollocks.
Released 40 years ago today (or tomorrow, depending on which version of the truth you believe), it was a difficult birth. In October, the unofficial (official?) Spunk was released in small numbers- many suggest that Malcolm McLaren was behind this, and that I can well believe. Especially bearing in mind that McLaren had done a separate deal with Barclay Records who started importing their version around the time of release. Was it an 11 track or 12 track album? The first release was 11 tracks, with a one-sided 7″ single. The second release added “Sub-Mission” to the 12″ platter. Later releases boasted the inclusion of “Satellite” and/or “Belsen Was A Gas” “Problems” appears twice on some covers. No-one seemed to know – it was about the 6th pressing when track listing and content finally settled down. And add to that a number of retailers refusing to stock the album because of the title, it was not an easy entry to the world.
It still hit Number 1 in the album chart a week after release – and in true 1977 Year Of Punk style, it replaced Cliff Richard’s 20 Golden Greats, and was usurped 2 » Continue Reading.
A Summer Break? Not any more. With a month to go to the Premier League Kick Off, the Fantasy Football shenanigans return
The Afterword “Classic” League has been renewed (and I can’t find the code for it at the moment)
The Afterword Head To Head League has been created – code is: 141535-36382
Alternative Title: A Right Good 75th Birthday Present
As a result of a Charity Shop splurge, and a deficient memory, I now have two copies of Portishead – Dummy
Fine album that it is, I really don’t need multiple copies
What does it sound like?:
The concept: take a bunch of pretty well known Punk tunes and re-arrange them for performance by The Royal Philharmonic Orchestra and singers from the English National Opera The result: In the main, it all works – Pretty Vacant, No More Heroes and Neat Neat Neat sound like they were made for this sort of re-arrangement, and Love Will Tear Us Apart gains an air of the sea about it – almost like it could be used for a Sunday Night BBC Drama about Shipping Line in the mid-1800s. The atonal saxophone squawk on Oh Bondage Up Yours is “fixed”, and Ca Plane Pour Moi is just not a strong enough tune for this treatment, and stripped of it’s over eager vocal and high pitch Oo-oo-oo-oo (which is here, but just sounds too tuneful), it loses a lot of it’s “Europunk fun” Teenage Kicks also loses some energy and urgency, but remains listenable. And Should I Stay Or Should I Go just about squeezes into the “OK” bracket The thing that lets it down for me is the singing over the orchestral backing (Disk 2 of the Deluxe Edition is the instrumental tracks only, » Continue Reading.
Worth a read. I would’ve liked it a bit longer, and more forensic (but that is probably just me). Possible future BBC4 doc? I’d watch it
Two blokes shaking hands – one is on fire
Blond children crawling up the Giants Causeway, and an orange sky
Harping their way through Black Sabbath’s Iron Man
or if you just want the CD version, that is available with a FREE Coaster Set
A traditional Korean string instrument containing between 12 and 21 strings – the history of the Gayageum goes back as far as the 6th Century.
OK, let’s use for pop music – and why not …
2016 aint finished yet – another one to add to the growing list of departures
Made me laugh
and there seems to be a few more out of time vocals on YouTube – should keep me quiet for the rest of the evening
What does it sound like?:
Punk, as a “thing”, gave people the belief that they didn’t have to be Rick Wakeman or Paul McCartney to be in a band. (Indeed, it was wider than music – “You don’t have to be xxx to succeed as (insert chosen profession here)”) A modicum of talent was probably needed, but what was missing in terms of ability could either be learned over time, or made up for by sheer exuberance and desire. Along with the many thousands of bands popping up in every town, the option of releasing a record came into view, either by the self-financing route or in partnership with local record shops and/or small record labels. The likes of Immediate, Island and A&M (and other established labels) were ostensibly “independent”, but in the late 70s it seemed like new labels were formed every month (or even week). Some survived and effectively became Major labels (eg Rough Trade, Beggars Banquet), others existed for the life of the one single they issued. Stiff, Chiswick, Rough Trade, Step Forward, Small Wonder, Beggars Banquet, Factory, Good Vibrations – some of their early output is here, as are releases from the lesser known Bent, » Continue Reading.
that the Sex Pistols debut single – Anarchy In The UK – was released.
Less than 2 months later, the band were sacked from their record label and this single deleted
What does it sound like?:
When a band has been doing the rounds for nigh on 40 years releases a new album, the obvious questions arise: 1) Have they still “got it”? (whatever “it” is) 2) Will this new collection be a worthy entry in their catalogue? 3) Are they just trading on past glories?
Yes, Yes and No (but also Yes (confusingly))
Over 38 years and 12 albums (including an 11 year hiatus) they’ve rarely released a duff album. Even 1988s The Madness has (thanks to the distance of time and expectation) redeeming qualities. 1999s ‘Wonderful’ marked a return – it was good but sadly relied on point 3 above perhaps too much. Scroll forward another 10 years, and the magnificent ‘Liberty Of Norton Folgate’ cemented their return, and at the same time their place as continuing that line of Great British Songwriters and Performers (I hesitate to say “National Treasures”, but it does fit). 2012s ‘Oui Oui, Si Si, Ja Ja, Da Da’ was perhaps a slight wrong turning, but this new one is (in my mind) the de facto follow-up to Norton Folgate.
Right from the start, this is Madness doing what they do best. Telling » Continue Reading.
There has to be a “moment” which can be cited as The Birth Of Punk, so lets choose the release of the first UK Single by The Damned. And today’s the day – New Rose was first released 22nd October 1976 on Stiff Records (catalogue number BUY6, fir the nerdily inclined who want to know)
Not only were they the first to release a single, they were also the first to release an album, the first to tour America, the first to split up, the first to reform.
Option 10 for me.
As the article says: “This is, objectively, the only correct way to organize your records. Search your feelings: you know it to be true.”
Might inspire debate.
Then again might just wile away a few minutes/hours (days?)
or the belief that one song must follow another. As a result of listening to the same tapes on a Walkman and in the car for several years, my ears are now pre-programmed to expect certain songs to start once the dying notes of another finish.
As The Damned’s Love Song finishes, there should be no more than a second before the opening burst of Eloise As a result of several months continually listening to The Jam’s Snap, Man In The Cornershop MUST follow the closing refrain of Start Blue Oyster Cult – (Don’t Fear) The Reaper can only be followed by Uriah Heep – Easy Livin’, or the world might implode (maybe not, but it feels like it) The Byrds – Eight Miles High must always follow Focus – Hocus Pocus, and from the same album (a compilation called Back On The Road), Nirvana – Rainbow Chaser will be followed by The Nice – America (although The Byrds and Nirvana are next to each other on the compilation, there is lughole expectation on my part) And then there is the 3 song run of Sham 69 – Angels With Dirty Faces, UK Subs – Stranglehold and Cockney Rejects – » Continue Reading.
The most obvious example of this is probably Another Brick In The Wall Part II, featuring pupils Islington Green School. The school received a one-off payment of £1000, and no royalties. A change of copyright law in 1996 meant they were entitled to royalty payments, and they were tracked down via Friend Re-United.
Others? Was the use of Mickey Gallagher’s kids to re-record Career Opportunities an inspired piece of “art”, or just a piece of filler-fluff to pad out Sandinista? Roy Wood was helped by Miss Snob and Class 3C (or more properly the Stockland Green Bilateral School Choir) when he yearned for it to be Yule continuously. And the kids are concerned for the future of Grocer Jack in Keith West’s Excerpt From A Teenage Opera. And then there is St Winifreds School Choir – the only group to be One Hit Wonders twice (albeit, first time round they were uncredited and obviously fetured different children). First time was backing Brian and Michael’s art history song Matchstalk Men and Matchstalk Cats and Dogs. The second was every Gran’s Christmas Present in 1980 “There’s No-One Quite Like Grandma” – it took the death of a Beatle to dislodge this saccharine-infused » Continue Reading.