DANNY BAKER WENT TO BURY PUBLIC IMAGE BUT CAME BACK TO PRAISE THEM

At the point of my meeting with Public Image Ltd I was less than a fan. I considered them a dirge, a racket, a puffed up pack of non-starters cruising on praise dribbled by those too scared to decry the king’s new clothes. I jumped at the chance of locking jaws and exposing their pose.

Let me tell you how wrong folk can be. We faced each other across the stifling sterility of a record company office, four strangers suddenly forced to strike up conversation.

In the red corner sat Keith Levine, the slight, blond haired guitarist of the outfit; Richard Dudanski, a tall, smart, well-spoken drummer; and finally the nation’s most adjectived pop star, Johnny Rotten.

Since his split with the Sex Pistols, John has been known under his proper handle, John Lydon, though he claims it was a decision made for him by the newspapers. The trio – bass man Jah Wobble has yet to arrive – swallowed can after can of lager and for the first 20 minutes they performed as brochure and according to their public image.

Each question I posed was returned sharply or sarcastically, mainly by Lydon. If this was the way the afternoon was to continue what was the point, I asked.

“Well,” began John, “we imagine that you were sent to do us for a good juicy slag off – some ‘good copy’ it’s called, I believe. We thought It’d be funny.”

If I wanted to discover Public Image, I concluded, I and they had better leave our preconceptions in that office and begin talking like people. Besides, it was by now 5:30 and everybody could hear the bolts being slid off the alehouse doors. Across the road the worlds started to flow.

I WONDERED HOW THEY FELT ABOUT THEIR OWN REPUTATION.

John Lydon: “Just because we don’t act like the business puppets that all other bands are, we are reckoned as kind of suspicious. Y’know, it’d be very easy for us to pose for all Virgin’s silly cardboard cut out stunts, be outrageous and obnoxious and churn out the same old lalala hard rock ‘n’ roll that’s as dead as a door-nail anyway, and then we could earn lots of money and be good little pop star rebels.

“But that’s just what the company wants. That’s why groups like Sham 69 are so well liked, because they just fulfil their ‘rebel’ roles for Polydor. That’s no threat – that just makes good advertising for Polydor. But I’m sorry – I’ve done my share of being manipulated thank you, and now I’m afraid we’re going to have to be spoilsports and just be ourselves.”

Keith Levin: “It’s like everyone thinks that we’ve been inactive for a long while, which isn’t true at all. What they mean is that we haven’t sent out any handy little press handouts keeping you all informed. Y’see we just get on with it and work. No gimmicks, we just keep working at our studio.”

John: “And they say you are moody because you want privacy. Look, If I go drinking in a pub. I’m just like anyone else in that I don’t like to be pestered. Signing autographs is embarrassing for everyone.

By now we had broken a great deal of the ice and began to talk about non-business related matters. Wobble had arrived and, despite his legend of being a crazed psychopath, we rabbit about football and whatnot and he shows himself to be a sharp, funny bloke.

Every objection I had formed as to why they were rubbish melted one by one with their simple, unpretentious answers. But there was still my indifference to PIL’s music. It seemed such a lazy thrash, although I must admit that once, in a club, the LP track ‘Annalisa’ knocked me cold with its excellent jabs of rhythm.

Wobble: “Well, that’s it. People bought our album and sat down and said, ‘entertain me’. You can’t do that with our music. It’s basically dance music. You’ve gotta bang it up loud and get involved with it. Really feel those bass lines.”

John: “Y’know a lot of people expected some sort of message from us. Oh no. They shouldn’t make the mistake of thinking I’m special BECAUSE I’M NOT! Honestly, I’m just a member of a group who has the freedom to record just what we feel like, and what we enjoy most. I feel we’re closer to disco than anything right now. Certainly not rock music. God, rock is so awful! It’s been dead for years but no one wants to accept that. Disco and loads and loads of reggae is all that I think is worth listening to now.”

AND DEAR OLD PUNK ROCK?

“Well I get blamed for starting that! All I did was open the door, mate. I thought the idea was to start up a million different groups, not a million groups all playing the same decaying, feeble rock. I was in that band for the laughs. When the laughs stopped I got out.”

What about the records that get released now under the name ‘Sex Pistols’?

“Oh, Ugh, please . . . . don’t depress me. The worst thing is some people might think all that crap is what the group’s always been about. That’s terrible.”

And all the ‘Sid Vicious Hero’ industry?

“Well, I was so angry when he died. They’re your animals with all their stupid T-shirts. I know he’d be as sick as me about all this junk. They literally exploited him to death, poor sod had no hope . . . “

I suppose it must be a drag having to talk about ‘the old days’ so often.

“It’s like having to re-live your schooldays every day. Let me make it clear. I am just one member of this group. There’s nothing sinister or mythical about us. People will have to take us as we are . . . “

Wobble: “A lot of our songs are really funny. It’s not half as straight faced as you think. Play that LP and just accept it as a bunch of rhythms you can move to. A lot of people get put off by his voice. Well, that’s great ‘cos if they want us to be singalong complacent they’ve got the total wrong idea. We expect the listener to work too . . . “

John: “Nobody ever uses those bass and treble knobs on their players. But that’s what they’re for! Mess about with them during our stuff, make your own sound and that.”

We drank and talked on for the rest of the day and most of the night. I was completely turned around.

Public Image have brains, humour and integrity. They’ll intrigue you and inspire you to make you dance.

John Lydon has been through the whole star trip in double quick time and he knows how worthless it is to sell yourself for a headline. He knows that if you want to play pretend at burning down the nation there are a thousand bands only too willing to act out your fantasy whilst keeping one eye on their bosses reaction. Public Image are their own bosses.

Believe me – I was their hardest critic and now I’m their most vocal supporter. And it wasn’t just because they’re ‘OK blokes’. That a band like Public Image can succeed is important to the health of modern music.

Smash Hits, July 1979

PUBLIC IMAGE LTD – “DEATH DISCO” / “NO BIRDS DO SING” (VIRGIN VS 274) JUNE 1979

Public Image Ltd ‘Death Disco’ – In the face of the unstoppable Sex Pistols Swindle industry, John Lydon perversely stretches himself to the near impossible limits to not only disassociate himself from his previous incarnation, but to alienate, to the point of hate, those who still resolutely cling to his former image.

Even Bowie didn’t go to such extremities to lay Ziggy to rest.

So what is one to make of “Death Disco”? Is it just another con-game? A gigantic piss-take to test the public’s tolerance level? A way of relieving the boredom between bouts of television until the pubs open? A display of contempt? Another attempt at commercial suicide? Or, as some people insist, are PIL incapable of writing songs?

As intended, such questions remain unanswered and the controversy continues unabated. The enigma that surrounds PIL persists in making many upright and uneasy. But then, isn’t that the whole purpose? It’s always much more fun working without a safety net.

GUITARS SCRATCH AWAY LIKE RATS

What we have here is aural action painting: the spontaneous slapping of sound on a magnetic tape canvas. what probably started out in the studio as a dog-eared disco-reggae fusion emerges as a lethal dose of psychedelic eclecticism which makes the Plastic Ono Band’s doodlings sound positively singalong by comparison.

As the bass blackjacks the beat, drums keep strict mechanical time whilst multi-layered guitars scratch away like rats at the pantry door, the tortured melody line of “Swan Lake” occasionally clawing its way to the surface.

And Lydon? His lyric is incomprehensible as his voice alternates between a demented bray and a Bolanesque vibrato. Whether it is a hoax or a signpost for the future is open to interpretation. It exists, it irritates, it intrigues. You just have to keep on playing it. Mission accomplished. (NME)

Never having met John Lydon, I really don’t know what to make of him. One minute he’s fronting a group that’s said to be the ultimate punk outfit, the next he’s claiming that rock ‘n’ roll is dead, and is now making peculiar noises like this – which is neither punk nor rock ‘n’ roll nor disco, but simply an unholy row.

Tuneless, formless, directionless, mindless, king’s-new-clothes moo-stick. Absolute tripe. (Smash Hits)

THE SEX PISTOLS – “MY WAY” / “THE BIGGEST BLOW (A PUNK PRAYER BY RONNIE BIGGS)” (VIRGIN VS 220) JUNE 1978

The Sex Pistols ‘ My Way’ – achieved success on their own terms and by the same token publicly lay the ghost to an uneasy rest. The story behind this controversial release was reported in last week’s NME.

All that needs to be added is that, despite becoming everything they campaigned against, as far as the actual backing track is concerned, what remains of Los Pistoleros swaggers out in fine style.

No two ways ’bout it, young Jones ‘n’ Cook really do make a most exciting and instantly recognisable rock ‘n’ roll noise.

And, as far as the actual melody goes – a wry pastiche of ‘Anarchy’ and ‘Queen’ plus a strong hook – it maintains their previous single status. “Waddabout Ron?” I hear you holler.

I’ve heard worse and not too many that are any better. however, the real attraction is the bona bizarro B-side – the autobiographical supper-club anthem ‘My Way’ as performed by Sid Vicious.

THE SEX PISTOLS – MY WAY

“no two ways ’bout it, young Jones ‘n’ Cook really do make a most exciting and instantly recognisable rock ‘n’ roll noise.”

Backed by staggering strings, the suave sophisticated crooner saunters up to the microphone and commences with a straight lock-in-the-lav spoof, before Jones ‘n’ Cook suddenly appear and rev up to allow Sidney to deliver a near-as-damn-it parody of the all-too-familiar Lydon Larynx.

The lascivious liberties that Sid takes with the original lyrics will ensure a prompt airplay clamp-down and quite probably motivate the publicity-hungry Dorothy “I’ve suffered for my art” Squires to scream “sacrilege” and be quoted in every rag. I bet Claude Francois and Paul Anka never saw it this way.

Just a passing thought, but the last person to record ‘My Way’ died soon after. (NME)

Malcolm McLaren’s reaction to Lydon’s departure from the group in 1978 was to turn the Pistols into a cartoon punk ensemble. Fronted by Great Train Robber Ronnie Biggs (on this single’s double A-side, No One Is Innocent), then Sid Vicious and Tenpole Tudor, they had hit singles well into the Summer of 1979, to McLaren’s delight and Lydon’s chagrin.

Sid’s reading of Frank Sinatra’s signature was recorded in Paris in April 1978, with French session musicians plus Steve Jones on thug-rock guitar: strings were added by Simon Jeffes of the Penguin Cafe Orchestra.

Sid’s ‘My Way’ encapsulated everything wonderful and silly about the post-Rotten Pistols. (Mojo)

By the time this record was released The Sex Pistols had become something of a cartoon punk ensemble. Johnny Rotten was gone, he had formed PIL which probably meant that Malcolm McLaren had even more control of what remained of the Pistols.

SWINDLE

He had a punk film to make called ”The Great Rock’ N’ Roll Swindle” and was roping in anybody including infamous train robber Ronnie Biggs. To this day I’ve still not seen this movie apart from a couple of short clips here and there on TV. Perhaps I’ll watch it in full one day but at the moment I’m too busy buying records.

“My Way” is Sid Vicious with some French session players. I believe Steve Jones played his guitar on this cut. Strings and things were added to the mix and you’re left with a very satisfying remake of the popular Frank Sinatra number. (EXPO67)

THE SEX PISTOLS – “SILLY THING” / “WHO KILLED BAMBI” (VIRGIN VS256) APRIL 1979

The Sex Pistols ‘Silly Thing’ – From the better half of the “Swindle” album, a familiar Pistols’ treatment of a so-so song, written by, and featuring, ‘the survivors’ – Paul Cook and Steve Jones. Un-sensational but commendable, no-nonsense punkarama; unlike the orchestrated silliness on the flip, “Who Killed Bambi”, featuring Ten Pole Tudor. Who cares? (Smash Hits)

THE SEX PISTOLS – “HOLIDAYS IN THE SUN” / “SATELLITE” (VIRGIN VS-191) OCTOBER 1977

The Sex Pistols ‘Holidays In The Sun’ – And the triumphant path blazed by “Anarchy In The UK”, and “God Save The Queen” begins to falter. “Holidays In The Sun” – the first Pistols, Jones, Cook, Rotten, Vicious as opposed to Jones, Cook, Rotten, Matlock – has two out of three elements that have graced the classic triad of hits: it has great lyrics and a wild-eyed mean-machine of a riff, but it lacks the structure and immediacy the was, presumably, the contribution of the more pop-oriented Glen Matlock.

The result is a shapeless rant rather than a song, which is a pity, since Rotten’s lyric – basically a critique of the parasitic element of tourism (“a cheap holiday in other people’s misery”) deserves better.

It’s even got the now-obligatory references to the Berlin Wall. The other singles were great POP as well as great rock and roll – plus I thought formless, self-indulgence was a BOF failing. Tighten up, star. (NME)

One of the most frightening records ever made, “Holidays In The Sun” captures the Pistols’ disintegration in sound. Starting with goose-stepping feet and a classic broadside – “a cheap holiday in other people’s misery” – this psychodrama resolves itself in a riff nicked from The Jam’s “In The City” and some of Lydon’s sharpest lyrics.

POLITICAL POLARISATION

Just after this session Lydon was injured by knife-wielding royalist thugs, and the song captures the political polarisation and violence of ’77 – this time, the Pistols were not instigators but victims. (Mojo)

This single was released just after my thirteenth birthday and it was the fourth killer Sex Pistols 45 after ‘Anarchy In The U.K’, ‘God Save The Queen’ and ‘Pretty Vacant’ or as we schoolboys used to say ‘Pretty Va-cunt’…..

The fierce intro gives way to a screaming guitar riff that sounds like Paul Weller’s on ‘In The City’ which had been released some 6 months before ‘Holidays In The Sun’.

According to John Lydon, he wrote the lyrics of the song after spending a brief holiday in Berlin……“A cheap holiday in other people’s misery” – Top 10 hit. (EXPO67)

Another Pistols’ single, another scene on the diorama, another crack in the plaster, another flake in the gloss, another daylight robbery, another council tenancy.

Jackboot intro could have been longer, thump, pick up and guitar. Now that riff is familiar, yeah, ‘In The City’, The Jam scam, only more muscular and then Rotten tearjerker:

“I don’t want a holiday in the sun,
I wanna go to the new Belsen,
I wanna see some history
‘cos I got a reasonable economy.”

from ‘Holidays In The Sun’

It ain’t didactic, it ain’t eclectic but it sure is electric. Don’t compare it with the past, don’t be the automaton putting the boots in ‘cos it don’t match up to previous Sex Pistols numbers.

It’s just another Pistols’ single. And that’s ALL that matters. (Record Mirror)

“NEVER MIND THE BOLLOCKS, HERE’S THE SEX PISTOLS” (VIRGIN V 2086) OCTOBER 1977

The Sex Pistols ‘Never Mind The Bollocks’ – What are you waiting for? True love, school end, Third World / civil war, more wars in the Third World, a leader, the commandos to storm the next aeroplane, next week’s NME, The Revolution?

THE SEX PISTOLS ALBUM!

Hail, hail rock and roll, deliver them from evil but lead them not into temptation. Keep them quiet / off the street / content.

Hey punk! You wanna elpee-sized ‘Anarchy’ single? You wanna original ‘Anarchy’ in a black bag? You wanna bootleg album? You wanna collect butterflies?

Very fulfilling, collecting things . . . very satisfying. Keep you satisfied, make you satisfied, make you fat and old, queueing for the next rock and roll show.

The Sex Pistols. They could have dreamed up the name and died. The hypocritical equation society makes of love / a gun = power / crime shoved down its own throat, rubbed in its own face. See, I’m just as repressed and contaminated as the next guy. And I like The Sex Pistols. Aesthetically, apart from anything else. Three of them are very good-looking. And the sound of the band goes. . .

“I don’t wanna holiday in the sun
I wanna go the the city
There’s a thousand things I wanna say to you. . .”

All very Weller, but is this a Jagger I see before me? No, it’s the singles, all four of them – ‘Anarchy In The U.K’, ‘God Save The Queen’, ‘Pretty Vacant’ and ‘Holidays In The Sun’ – constituting one third (weigh it) of the vinyl.

Of course, there are other great songs, this is no first round knock-out. There is no Clash attending the CBS convention; no Jam voting Conservative; no Damned fucking an American girl with a Fender bass; no Stranglers distorting Trotsky and Lenin for their own cunt-hating, bully boy ends.

No, this is The Sex Pistols. The band which started it all.

SUBMISSION

Great songs like ‘Submission’, a numb-nostrilled ‘Venus In Furs’ / ‘Penetration’ / ‘I Wanna Be Your Dog’, in from hypnotic, in content writhing. Pain through a dull, passive haze. Is that a whip in your hand or are you abnormal?

“Submission, going down, dragging her down
Submission, I can’t tell you what I’ve found.”

Smack? Geeks? What’s the mystery and who grew up on New York Dolls? Dogs yelp as the drill continues. Most unhealthy and ya like it like that? Well, it grows on you. A bit like a cancer.

Great songs like ‘No Feelings’

“I got no emotion for anybody else
You better understand I’m in love with myself
Myself, my beautiful self.”

Ah, solipsism rules, as Tony parsons used to say before he got wise. Good dance tune, anyway, while ‘Problems’ says it all:

“Bet you thought you had it all worked out
Bet you thought you knew what I was about
Bet you thought you’d solved all your problems
But YOU are the problem.”

Whatcha gonna do? Vegetate? Listen to The Sex Pistols album? Great songs gone, ineffectual flicks of the wrist like ‘New York’, which probably has David Johansen quaking in his heels, and ‘E.M.I’. You guessed it, they’re bitching .

“You’re only twenty-nine
You gotta lot to learn.”

In spite of this inspired opening, ‘Seventeen’ rambles a little and the guitars do go on a bit.

“I just speed, that’s all I need.”

Whaddya think of it so far? Well, I’ve saved the best bit for you to linger over. You’ve already heard two songs the band co-wrote with Sid Vicious (as apposed to Glen Matlock, The True Pop Kid): ‘E.M.I’ and ‘Holidays In The Sun’. Here’s the third. It’s called ‘Bodies’.

“She was a girl from Birmingham
She had just had an abortion.
She was a case of obscenity
her name was Pauline.
She lived in a tree
She was a no-one who killed her baby
She was an animal, she was a bloody disgrace
Bodies, I’m not an animal
Dragged on a table in a factory
An illegitimate place to be
In a packet in a lavatory
Died in a baby screaming, bodies
Screaming fucking bloody mad
Not an animal, it’s an abortion
Bodies, I’m not an animal
Look at it squirm, gurgling bloody mess
I’m not a discharge
She don’t want who likes that
I don’t want a baby who looks like that
I’m not an animal, I’m not an animal
I’m not an animal, Mummy”.

What/ Good God? Was I shocked! Did I jump! Is that what they wanted, to shock people? Do they mean it? Is it satire of the most dubious kind? Did John’s Catholic schooling leave its mark?

I don’t know where ‘Bodies’ is coming from and it scares me. It’s obviously a gutter view of sex / dirt / blood / reproduction and if the song is an attack on such a mentality it’s admirable.

But, as with ‘Holidays In The Sun’, Rotten never allows himself to make a moral judgement and, going by things he’s said, he seems refreshingly capable of making them. I wish The Sex Pistols had said in ‘Bodies’ the woman should not be forced to undergo such savagery, especially with a “Welfare” State.

I’m sick of unlimited tolerance and objectivity, because it leads to annihilation. I wish everyone would quit sitting on the fence in the middle of the road. I think ‘Bodies’ will be open to much misinterpretation and that to issue it was grossly irresponsible.

MENTAL RETARD

I don’t really know anything about music but The Sex Pistols seem to play as well as anyone I’ve heard, and I’ve heard Jimi Hendrix and Pete Townshend records. I never knew what was meant by “guitar hero” – it sounds like the kind of phrase a mental retard might mouth. “Guitar hero” – you mean as in “war hero”, that kind of thing?

Why should anyone wish to play more usefully than Steve Jones, or drum more elaborately than Paul Cook, or play better bass than Sid Vicious? What purpose could it serve to outdo them?

So what are The Sex Pistols? For the tabloids a welcome rest from nubiles; for the dilettantes, a new diversion (Ritz has a monthly punk column); for the promoters, a new product to push; for the parents, a new excuse; for the kids, a new way (in the tradition of the Boy Scouts, the terraces and One-Up-Man-Ship) in which to dissipate their precious energy.

Johnny Rotten, Oliver Twist of this generation: “I wanna some MORE, Malcolm!” (NME)

PRE-RELEASE REVIEW: ANOTHER LOAD OF . . . FORGET EVERYTHING THAT’S GONE BEFORE – YOU CAN’T COMPARE ANYTHING WITH THE NEW SEX PISTOLS ALBUM.

As the evening sun sank slowly behind the filling station on the horizon, a thin miasma of mist began to curl upwards from the banks of the canal gradually obscuring the gaunt shapes of the prefabricated sheds clustering around the used tyre dump at the side of the motorway. Lights flickered on at the town’s outskirts as cars, lorries and coaches sped disinterestedly past.

Hitch-hiking is, like, really interesting man. Or is it if you’re listening to the Sex Pistols’ album. Yeah, forget the time, the place, the motorways 1 to 62, the Ten Commandments and pretty nearly every damn album in the Rolling Stone book of Rock. The lift starts here . . . .

What we’ve been waiting to see or hear and what whoever-it-is-out-there has been stopping us from for so long. All those songs and all that energy – a full-tilt careering commitment to vinyl . . . headlong into history . . . the re-definition of rock . . . the sledge-hammer spirit of the seventies . . . etc etc.

All that stuff which doesn’t mean anything – and the album which does. A lot. Take the first impression; eleven tracks that are all as exciting / intense / original / honest, as ‘God Save The Queen’ or ‘Pretty Vacant’; the impossible dream. It’s almost true.

Flip to front and front to back it’s fine you can’t define. Play it again – an unlimited amount – and there’s excitement, energy and any other words beginning with “e” that fit the bill. The job’s been done – excellently and eagerly executed. Too much.

To put it another way. It’s simply one of those ones that gets you up, gets you out (to lunch) and . . . and . . . and gets you thinking that there’s nothing – really nothing at all – that you can compare it to.

The beginning is a two second “Ugh!”; a deep studio grunt leading into ’17’ (aka “I’m A Lazy Sod”). The well-known anthem gets the full treatment; guitar punching up front, controlled vocal aggression from Rotten and an echoed chorus slipping in the odd “I’m a lazy sod Sid . . . “

Just for a start it’s got the live power that doesn’t falter once – real thorough romance. But ‘Pretty Vacant’ (originally next in line) is the space to watch. Another track presently being recorded – will appear on the album since this has already been released as a single.

Then ‘New York’ – Guitar thrash and staccato vocals punctuated with the demoniacal laughter / asides that Johnny Rotten excels in give this a punishing two minute climax, leading into ‘Holidays In The Sun’. Economic and strongly traditional, riffs carry the Rotten rant here – Rock ‘n’ Roll and an insurgent speed rap that hits the end-before-it’s-begun. Again.

And ‘Liar’ takes over with the Pistols in full stride. With the strident chorus of “lie, lie, lie, liar” the melody comes across fast and strong; a shouted, goading hook of “you’re in suspension” adds to the tuneful turmoil, giving the song all the frothing urgency it needs.

‘Problems’ – again, old and famous already – takes the first side out. A resonant and echoey vocal rides the backing thump and thrust to build repeatedly to the cutting taunt: “the problem is you . . . and watcha gonna do?” Dance? The fall-out is a crushing, mantra-like repetition of “problems”. Fade and end.

Side the second (for the moment at least) is kicked off with ‘Anarchy In The UK’, a spot-the-difference job to compare with the EMI mix, and a welcome chance to get the single that started it all for those who got stopped in their tracks by the ban last year. ‘Anarchy’ is followed by another established song, ‘Submission’. Someone will call this the ballad of the album. Certainly it’s a slower brain-punch than the others – an instrumental back-up reminiscent (even) of Blue Oyster Cult, grinds relentlessly over a chillingly distant vocal and wailing ‘effects’. Effective it is, and this, the longest track by far, ends with sustained vocal and a distant, distinctive Rotten splutter.

You’re whacked out of lobotomy immediately with the chopped-chord adrenalin of ‘No Feelings’. One of the most perfect “songs”, here it’s again got all the raw power and savage, sardonic exhortation that, simply, is both the invention – and prerogative – of one J. Rotten. For 1977 or any other time.

‘Satellite’ keeps the pace up. The sarcastic lyrics lead into an incredible “and . . . I love you” chorus that is a dead ringer (and perhaps a loving one) for the Gary Glitter battle cries of old. Really. The massed singing ranks trade off a crazed and frantic lead – ending with a wry pseudo-wall of ‘nobody loves me’ and dog-like yelps.

So to the killer. For last, blast and knockin’ out the past. ‘EMI’. This one’s unbelievable and here it is. The song about the company. “I tell you it was all a frame, they only did it for the fame” Rotten opines, before whining the chorus “EMI . . . EMI . . . EMI”

Sarcastic, angry and snarling the power of this song defies description. It runs through three gut-churning riffs with every throwaway, every lip-curl and every bit of spitting fury included. The massed ranks join the end:

“And blind acceptance is a sign
Of stupid folk telling lies
Like EMI . . . EMI”

from ‘EMI’

The rasping, croaked conclusion of “EMI . . . goodbye . . . A&M”. And the ‘problem’ mantra returns.

Nothing to pinpoint and everything to go for. This is music, this is modern rock ‘n’ roll. The “group sound” is threshing and dynamic – totally cohesive. And singer-wise Johnny Rotten is so completely different that he can’t be part of anybody’s plan.

Totally good – in an unlimited amount – with another track to come. Erase. So good I’ve never heard anything like it outside the Pistols live. Ever. This is the one we’ve been waiting for . . . this is the one.

(Record Mirror, 13/08/77)

This descent into the maelstrom is merely a reaffirmation of the Pistols’ secular position in the shape of things. The presence of the band’s four singles to date – ‘Anarchy In The UK’, ‘God Save The Queen’, ‘Pretty Vacant’ and ‘Holidays In The Sun’ – indicates a desire to strengthen and gather together the incidents of the past eighteen months. McLaren more than anyone realises that disparity leads to maladjustment.

Then again they might have been included ’cause the band didn’t have any more songs.

Anyway, they’re there and you can’t do much about them except maybe listen again. After all, they are four of the best ten singles released this year. If only the band themselves didn’t say a few months back that they were only going to include ‘Anarchy’ ’cause they felt singles on albums were a rip-off.

And it hasn’t hampered sales either. The album’s gone gold on advance orders alone.

‘Never Mind . . . ‘ is a predictable Pistols album, i.e. an exciting mess, a torture chamber mind game full of perverse caricatures and verbal defecation.

Most of the songs have been performed live since the band’s inception and ten of the twelve titles include Glen Matlock credits. Only ‘Holidays In The Sun’ and ‘Bodies’ mention Vicious alongside Rotten, Jones and Cook.

A lot of knowledgeable people reliably inform me that Matlock was the real talent in the band, the instigator of the music. I profess total ignorance to the backstage Pistol squabbles but I do have ears and ‘Bodies’ is one of the standout tracks on this album.

It traces the heart warming story of a young Birmingham girl who has a baby, wraps it up in a package and leaves it in a public toilet. She had just had an abortion as well.

“She was a case of insanity,
She was an animal.
She was a bloody disgrace,
She was a screaming fucking bloody mess,
She was a gurgling bloody mess.”

Rotten spews “She don’t want a baby that looks like that.”

And amid the squirms and gurglings that swill around the dying moments of the song Rotten becomes the baby in the toilet: “Bodies – I’m not an animal. Mummy?”

Confused speed, revolting treatment and totally intoxicating.

Then there’s ‘No Feelings’, a tribute to narcissism reminiscent (in sentiment only you understand) of 10cc’s ‘I’m Not In Love’.

“I saw you in the mirror when the story began,
I love your company . . . you better understand.
I’m in love with myself, No Feeeelings.”

The tinsel teenie with the jackboot streak –

“You never realise I take the piss out of you,
Come up and see me and I’ll beat you black and blue,
No feelings except for myself, my beautiful self.”

Again the affected brainwave guitar of Steve Jones churns the whole thing up and spurns it into more appealingly repulsive heights.

Rotten’s “nobody’s fool” in lie – lie – lie – ‘Liar’. “You’re in suspennnnsion” he screeches over cook’s beautifully deranged drumming.

In ‘Problems’ those that have seen The Pistols as the saviours of ’77 youth are pilloried.

“Too many problems, why am I here?
And I conceded there’s something wrong with you,
What do you expect me to do?
At least I got to know what I wanna be.”
So you gotta “eat your heart out on a plastic tray.”
“Bet you thought you knew what I was about,
Bet you thought you solved all your problems.
But the problem is YOU.”

‘Seventeen’ and celluloid Pistols with cinematic reality;

“You’re only 29 got a lot to learn
But when your mummy dies she will not return,
We like noise, that’s our choice,
It’s all we want to do,
Cos – I’m a lazy sod.” Speed’s all I need.

The love song of the album ‘Submission’ is also the slowest (that means it’s faster than ‘Virginia Plain’). The Doors’ ‘Moonlight Drive’ immediately springs to mind.

‘New York’ is a little ambiguous. The lyrics are difficult to decipher with references to faggots (“give us a kiss”), pills, cheap thrills and bullshit.

‘EMI’, a fitting finale, a golden lesson in vehement retribution, a cackling bit of fun:

“An unlimited supply,
That’s the reason why
I tell you it was all a frame
They only did it for the fame.
WHO? EMI!!! . . . “

Rotten’s unique r-r-roll and vindictive vowel succulence have never been so effective. The public toilet backing chorus has never been so public toilety.

“You thought we were faking,
That we were just money making,
You didn’t think we were for real.”

Oh yeah, but readers. It appears they were erroneous though ‘cos “We will be ruled by no one.” So there.

The end is glorious. “Hullo EMI – GooadiiiiA&M” (a raspberry is then blown).

A Pistols album could only end on a raspberry when you REALLY think about it.

And doesn’t Johnny Rotten bear a remarkable resemblance to Stan Laurel?

(Record Mirror, 05/11/77)

THE SEX PISTOLS – “GOD SAVE THE QUEEN” / “DID YOU NO WRONG” (VIRGIN VS 181) MAY 1977

The Sex Pistols ‘God Save The Queen’ If you had to reduce punk rock to one single, this would be it. Every second of “God Save The Queen” is graven in stone: it’s impossible to imagine it sounding any other way. Infuriated by the Bill Grundy scandal and the World War II retro of the Queen’s Jubilee, everyone involved with the Sex Pistols concentrated on making this single count: from the video to the graphics to the timing of it’s release, everything was perfect.

None of this would have mattered if the record hadn’t showcased a great rock group at the height of its powers. From the opening, patented Sex Pistols fanfare – an accelerating guitar / drum figure – through the ringing verses, right down to the closing terrace chant of “no future”, “God Save The Queen” is a masterpiece of wildness and discipline, tension and release. (Mojo)

“I thought about it for weeks, and then it came out in one go. In the kitchen at the squat, just like that.”

Johnny Rotten

Ramalamafa fa fa! Just in case there was any danger of forgetting that the Pistols are a rock band instead of just a media hoax / guaranteed talk-show laff-getter, all purpose scapegoat or whatever, here’s a record which actually managed to squeak its way past the official guardians of our morality and may well be in your shops any minute now. It comes out on Saturday and it’ll probably be banned by Monday, so move f-a-s-t.

NO FUTURE

The ‘real’ title of this song is “No Future”, but it’s received so much notoriety as “God Save The Queen” that it’s now called “God Save The Queen” so that you can get what you ask for when you ask for it, and what you will get when you ask for it (and you will ask for it) is a remorseless, streamlined crusher of a single that establishes the Pistols’ credentials as a real live rock and roll band.

Up front, star-of-the-stage-and-screen Johnny Rotten (the singer) gets to grips with the already often quoted lyric in the inimitably charming manner which has made him the darling of international cafe society. “We’re the future, you’re the future, NO FUTURE”, he leers, except that there is a future, you’re it and if you don’t take it then you’ve only yerownass to blame . . .

Anyway, buy it. Buy it whether you like it or not. If people try that hard to stop you from hearing something then you owe it to yourself to find out why. Besides, since 1977 marks the Queen’s ascent to cult figure status, maybe the reason that punx dig her so much is that she’s a shining example to all of us. How many of you dole queue cowboys can get that much bread for posing all year? (NME)

Johnny leads the boys through another rip roaring social statement of uncouth youth, set to an angry arrangement of what were once referred to as musical instruments. Having established that it is a pretty wholesome record and unlikely to undermine civilisation as we know it today, the big question is who is going to play it? As most DJs heads are still in the late sixties and the men behind the radio stations go back even further, there has been a noticeable lack for playing records such as this.

A lot of people have been talking about ‘punk’ and ‘new wave’, many have seen if fit to frequent gigs by such groups and buy their records, now when are the radio stations going to realise that this is not just a passing fad, but a genuine pop trend.

A lot of people would like this if they got a chance to hear it. C’mon radio stations give ’em the opportunity. A word of congratulations to Virgin for signing the Pistols, at a time when the label looked like becoming a ‘muzak for minds’ label. How can Mike Oldfield follow this? (Record Mirror)

THE SEX PISTOLS – “HOLIDAYS IN THE SUN” / “SATELLITE” (VIRGIN VS-191) OCTOBER 1977

POLITICAL POLARISATION

Another Pistols’ single, another scene on the diorama, another crack in the plaster, another flake in the gloss, another daylight robbery, another council tenancy.

Jackboot intro could have been longer, thump, pick up and guitar. Now that riff is familiar, yeah, ‘In The City’, The Jam scam, only more muscular and then Rotten tearjerker:

“I don’t want a holiday in the sun,
I wanna go to the new Belsen,
I wanna see some history
‘cos I got a reasonable economy.”

from ‘Holidays In The Sun’

It’s just another Pistols’ single. And that’s ALL that matters. (Record Mirror)

THE SEX PISTOLS – “C’MON EVERYBODY” / “THE GOD SAVE THE QUEEN SYMPHONY” (VIRGIN VS272) JUNE 1979

The Sex Pistols are an undoubted success based on the idea called punk rock, which sets out to trail blaze a path of anarchy and ruin within a culture that chooses to destroy us by making our decisions for us.

Punk rock’s cause is to create as much fuss, havoc, excitement as possible, crime pays us.

PUNK’S SLOGANS ARE:

reject the mainstream
cash from chaos
believe in the ruins
never trust a hippie
anarchy is the key
do it yourself is the melody

In other words, rot ‘n’ roll

The media was our helper and lover and that in effect was the Sex Pistols success.

As today to control the media is to have the power of Government, God, or both.

It is all that matters to explain our ‘Great Rock ‘N’ Roll Swindle’. A true swindle of ideas that gives you back your right to decide for yourself.

THE SEX PISTOLS – “MY WAY” / “THE BIGGEST BLOW (A PUNK PRAYER BY RONNIE BIGGS)” (VIRGIN VS 220) JUNE 1978

All that needs to be added is that, despite becoming everything they campaigned against, as far as the actual backing track is concerned, what remains of Los Pistoleros swaggers out in fine style.

No two ways ’bout it, young Jones ‘n’ Cook really do make a most exciting and instantly recognisable rock ‘n’ roll noise.

And, as far as the actual melody goes – a wry pastiche of ‘Anarchy’ and ‘Queen’ plus a strong hook – it maintains their previous single status. “Waddabout Ron?” I hear you holler.

I’ve heard worse and not too many that are any better. however, the real attraction is the bona bizarro B-side – the autobiographical supper-club anthem ‘My Way’ as performed by Sid Vicious.

THE SEX PISTOLS – MY WAY

“no two ways ’bout it, young Jones ‘n’ Cook really do make a most exciting and instantly recognisable rock ‘n’ roll noise.”

Just a passing thought, but the last person to record ‘My Way’ died soon after. (NME)

Sid’s ‘My Way’ encapsulated everything wonderful and silly about the post-Rotten Pistols. (Mojo)

SWINDLE

THE SEX PISTOLS – “PRETTY VACANT” / “NO FUN” (VIRGIN VS 184) JULY 1977

“In 1962, nobody really wanted a band looking like us and playing what we wanted to play, because the people running the music business couldn’t understand anyone wanting to hear it.” – Mick Jagger

The Sex Pistols “Pretty Vacant” – In case anyone’s forgotten, 15 years have elapsed since then and things really haven’t changed that much, eh kidz!!

There are certain all-too-rare occasions when, without warning, a record comes hurtling out of left field . . . stops you dead in your tracks, floors your expectations, simply SHOCKS you, and promptly sets the adrenalin pumping around your system at ten times the normal speed.

It happened to me (and I’m certain I’m speaking for countless others), the very first time I heard Little Richard frantically scream “Awopbopaloobop”, Chuck Berry motorvatin’ through ‘Johnny Be Goode’, The Kinks brutalising ‘You Really Got Me’, Keith Richard’s fuzz guitar intro to ‘(I Can’t Get No) Satisfaction’, the psychotic delirium of Hendrix’s ‘Purple Haze’, the we-ain’t-gonna-take-no-more-of-this-crap angst of The Who’s ‘My Generation’, the Velvets’ cacophonic ‘Sister Ray’, the contempt with which Dylan spat out ‘Like A Rolling Stone’, hearing The Stooges’ ‘1969’ being played immediately after CS&N’s ‘Marrakesh Express’ one humid morning over a New York radio station a couple of weeks after Woodstock, Television’s surreal ‘Marquee Moon’ . . .

MEMORIES

I experienced the same feeling this Friday when I received an acetate of The Sex Pistols’ third single, ‘Pretty Vacant’. With few exceptions up until now the ’70s have been a concept: take an idea then build a band (like Kiss or Aerosmith) around it and cold-bloodedly exploit it for every dollar it’s worth. That’s, of course, if you have a taste for yesterday’s warmed-up leftovers!

The Sex Pistols are an exception quite probably the only rock band currently living and working in the present. Not last month, not next year, but NOW – whilst all around them their immediate competitors, especially those embraced by New Wave-ism, are lost in various half-cocked fantasies of what a 1977 rock ‘n’ roll band should be like.

Contrary to expectations, The Sex Pistols turn out to be not merely somebody’s idea of a band called The Sex Pistols, but the genuine article. What The Sex Pistols have in common with the likes of Jerry Lee Lewis, Chuck Berry, Keith Richard, Townshend, Dylan and Iggy – I’ll even throw in Wayne Kramer – was that when they stood on the threshold of their respective careers – for a brief moment – not only were they devoid of illusion and pretension but they had their finger firmly on the pulse of a generation.

We have that situation recurring at this very minute. Picture yourself trying to describe the sheer overwhelming impact of ‘(I Can’t Get No) Satisfaction’, ‘My Generation’, ‘Raw Power’ or even ‘Dancing In The Street’. Truthfully, there aren’t words. And unless you’re terminally insensitive, you can’t possibly fail to recognise the numbing shock of reality when, on such rare occasions as these, it presents itself with all the subtlety of an earthquake.

The Sex Pistols’ ‘Pretty Vacant’ is one such instance. With this disc, the Pistols positively cream their closest competition with muscle to spare. Forget about the acceptable face of outlaw chic. The Sex Pistols are a band virtually unable to perform before a public who helped to create them. It’s a vacuum in which no other band has until now, found itself thrust.

As a result of this dilemma, the only positive outlet for their frustrations is the comparative isolation of the recording studio and it’s from there that ‘Pretty Vacant’ – the music, the noise, the intense atmosphere – boils over in sheer anger and desperation.

THE SEX PISTOLS – PRETTY VACANT

“With this disc, the Pistols positively cream their closest competition with muscle to spare.”

People have been trying to get back to this pitch of intensity throughout the ’70s and the cumulative desperation seems finally to erupt on this seminal single. Apart from anything else, ‘Pretty Vacant’ establishes that The Sex Pistols are not one-and-a-half hit wonders, and there’s nothing about this record that should prevent any shop from stocking it, any radio station from keeping it off the playlist except bloody-minded bigotry.

However, I’m sure that someone will find a ‘suitable’ excuse for, as we have all been made aware (during this Jubilee year) both The Establishment and a good number of citizens of this Sceptered Isle are riddled with prejudice and hypocrisy to the extent that The Sex Pistols have been virtually branded the Ni**ers Of Rock ‘n’ Roll.

MEDIA BACKLASH

In the face of media backlash, which has had quite the opposite effect than that intended, The Sex Pistols continue to gain momentum. In fact if the heat were suddenly switched off, perhaps the desperation with which they approach their vocation might dissipate.

You see, The Sex Pistols are so much a part of the present social climate that next year they may be a spent force, maybe the Old Farts of The New Wave, maybe (if some people have their way) dead.

However, let the future take care of itself. Whatever the outcome, we’ll never ever forget 1977 in the same way we forget 1973, 1974, 1975 and most of 1976! For the time being, I long for that Thursday evening when I switch on BBC1 and see Savile gawp into the camera, “Err-eh-err-err, it’s Number One . . . it’s Top Of The Pops . . . it’s ‘err-eh-err-err, them Sex Pistols lads with ‘Pretty Vacant’ . . . ‘err-eh-err-err.” (NME)

The beat of the street continues and this time who dare ban it? There is sod all anyone could find to complain about this, but I’m sure someone will come up with something or other.

Expect to see it high up the charts anyway. We don’t give stars for singles anymore, but if we did this would score a few, not for the sake of it, rather because of it.

“And we don’t care”, says John Lydon. “one of these days they’re gonna crucify me,” John Lennon said that. (Record Mirror)

THE SEX PISTOLS – “ANARCHY IN THE U.K” / “I WANNA BE ME” (EMI 2566) NOVEMBER 1976

The Sex Pistols ‘Anarchy In The U.K’ – Ten years ago some gents of my acquaintance used to amuse themselves by hurling abuse, ash-trays, sparking plugs and the occasional fire extinguisher at the parade of two-bit groups that opened package shows and attempted to hold impatient audiences at bay by making a similar noise to this.

It was an essential initiation ceremony, an endurance test for group and audience alike. If the group broke first they usually disbanded and were never heard again, most of those that survived the ordeal went on to fame and fortune. Some of them even had talent.

Unless they happen to chance upon the same generation audience – an unlikely event. I think you’ll agree – it doesn’t seem like the Sex Pistols will ever be tested. Which isn’t very fair on the lads. Here they are, all punked up, ripe for a battle with the establishment, and no-one’s fighting back. In fact, horror of horrors, they’re being accepted so quickly they might have well just won Opportunity Knocks.

Full frontal coverage and six page pull-out supplements in the music press, gigs reviewed, every pose applauded, and all this before their first release. Not playing the game is it, Pistols? Just to help you out you might like to know that I think your record is lousy, but not so atrocious that it scores on that count either.

Admittedly Johnny Rotten sings flat, the song is laughably naive, and the overall feeling is of a third rate Who imitation, but even so there’s a certain neurotic aggression that distinguishes it from the rest of this week’s insipid bunch and prevents it acquiring good-bad status.

“Here they are, all punked up, ripe for a battle with the establishment, and no-one’s fighting back. In fact, horror of horrors, they’re being accepted so quickly they might as well have just won Opportunity Knocks.”

There, I can’t be more conservative than that. I know it’s not much of a substitute for an ash-tray whizzing out of the darkness and clouting you on the butchered lug, but it’ll have to do for the time being.

Your next step should be to book yourselves as opening act on a tour with Jerry Lee Lewis. You owe it to yourselves, just for the experience of really having to fight to make yourself heard. Odds-on you wouldn’t survive longer than ten minutes (NME)

Having signed to EMI for £40,000 advance, the Pistols were immediately in conflict with the company over their first single. EMI planned to issue “Pretty Vacant” on progressive label Harvest with an in-house sleeve featuring a snap of their four spiky tops. They settled for “Anarchy” on EMI, wrapped in a black plastic sleeve (bin bags were big news), and promoted with a Jamie Reid poster featuring a ripped Union flag held together with safety pins and bulldog clips.

A clarion call of teenage disaffection, “Anarchy” marked the Pistols’ triumphant entry into the public arena, with Rotten’s pub-singer diction enunciating provocative lyrics into which McLaren’s ideas had fed.

After the Pistols’ TV contretemps with Bill Grundy, EMI pulled the single (after 55,000 sales) and dumped the band, who trousered their loot and moved on into the inferno of the Summer of Hate. (Mojo)

This was the first ever release by The Sex Pistols with, of course the original line-up of Rotten, Jones, Matlock and Cook. It’s been re-issued before but go for an original, they’re still around for about £25-£40 in decent shape.

Despite little or no radio airplay the single still managed to dent the Top 40.

” I wanna be an anarchist, get pissed, destroy”

Thrashing guitars, a maniacal chuckle from Johnny Rotten, and we’re into the most eagerly awaited single in ages. Single of the week? Has to be, and not just because Sounds was the first to feature the Pistols / Punk phenomenon. It explodes out of the pre-Christmas product pile, and by any standards it’s a great rock record.

In fact it has so many of the traditional ingredients of high-energy rock that it makes nonsense of all those hysterical letter writers who see the Pistols as a threat to Music As We Know It. Conversely, it also makes nonsense of any claims that the Pistols are revolutionaries. They may want to push the old farts aside, but they’ve borrowed a lot from ’em.

Far from being bizarre, it’s really a simple, basic record: so basic in fact that even fans of Hawkwind would feel at home with the relentlessly hammering rhythm section (shades of “Silver Machine”).

Pistols fans, I suspect will be surprised (disappointed?) that the record isn’t faster and nastier. It’s just a little too smoothly produced by Chris Thomas of Roxy Music fame. Will the Beeb ban it? Hard to see why: the opening line “I am an anti-Christ” is intended to shock, but in these irreligious times who can it offend?

No, this ain’t revolution, it’s the same old rock and roll – but YOUNGER and more intense than we’ve heard it for a long while. And as an old fart who loved the early Who, I welcome the Pistols. (Sounds)

The most important single since “My Generation” and “Satisfaction.” Trendy. Aren’t I? Seriously though babes, it’s the most alive with energy thing since me mod days, Yawn! Here we go!

Johnny Rotten, surely the Mick Jagger of the ’70s if ever there is to be one – kicks, twitches and contorts himself and his foul-mouthed bunch of already expert rockers into Coronary Nerve Wrecks.

In a phrase, it’s a single made by 19 year olds for 19 year olds. And rock ‘n’ roll will always be about 19 year olds, not 29 year olds or 39 year olds, so help me. The unrelenting resentment of the dole queue, irrelevant uncaring education, the whole brutality and mediocrity laid on the Bash Street Kids finds it’s Voice.

The Pistols CAN play, and tremendous NOW rock it is, too. Rotten is a brilliant performer, he’s obviously had Jagger, Daltrey and the rest lodged in his back-brain since his early childhood. which is one of the things he’s pissed off about, of course. That’s the name of the game.

Hear the future of rock ‘n’ roll. It ain’t pretty. When has it ever been. really? People try to put us down . . . just because. . . (National Rock Star)

JOSEF K – “PICTURES” / “CHANCE MEETING” (POSTCARD 81-5) MAY 1981

Josef K ‘Pictures’ – More of those ringing, distorted sweeps of guitar that mean New Psychedelic. Or is it new Romantic . . . at any rate, the overall effect is of stern noble young profiles silhouetted against stormy skies, poised – posing – on a windswept mountain crag.

Josef K sound like they’re attracted by the nobility of agony, as exemplified in Franz Kafka’s hungry, anguished mug shots. So many Jimmy Dean’s! Oh what a feeling! (NME)

BLONDIE – “DENIS” / “CONTACT IN RED SQUARE” / “KUNG FU GIRLS” (CHRYSALIS CHS 2204) FEBRUARY 1978

“Denise” recorded by Blondie is a song written by Neil Levenson. The song was inspired by his childhood friend, Denise Lefrak. In 1963, the song became a popular top ten hit on the Billboard Hot 100 chart, when recorded by the American doo-wop group Randy & the Rainbows.

A cover version by the American new wave group Blondie, re-titled “Denis”, reached number 2 in the UK Singles Chart in 1978. Dutch actress and singer Georgina Verbaan covered “Denis” in 2002 and reached number 30 on the Dutch Singles Chart.

The American doo-wop group Randy & the Rainbows recorded “Denise” with the producers of The Tokens, releasing it as a single in 1963. The group’s name “Randy & the Rainbows” was chosen by the owners of Laurie Records after they recorded “Denise”.

JUNIOR & THE COUNTS

The group having previously been called “Junior & the Counts” and “The Encores”.

“Denise” spent seventeen weeks on the Billboard Hot 100 chart, reaching number 10, while peaking at number 18 on the Billboard Hot R&B Singles chart, and reaching number 5 on Canada’s CHUM Hit Parade.

The song was ranked No. 27 on Billboard’s end of year ranking “Top Records of 1963” and No. 60 on Cash Box’s “Top 100 Chart Hits of 1963”.

THE BOOMTOWN RATS – “MARY OF THE 4TH FORM” / “DO THE RAT” (ENSIGN ENY 9) NOVEMBER 1977

The Boomtown Rats – ‘Mary Of The 4th Form’ – While schnurdos everywhere are trying desperately to suss out whether The Boomtown Rats are actually punks or not, me and a bunch of other people are quite happy to dig ’em for the music, guffaw at Modest Bob Geldof’s outrageous inflammatory statements to the national press and groove on regardless.

“Mary Of The 4th Form” is an alternative version of their album track of the same name backed by “Do The Rat”, a popular stage number (to use technical music business jargon) of theirs.

HARD DRIVING FEELGOOD’S DERIVED

“Mary” is a hard-charging Feelgoods-derived song about a horny, tantalizing schoolgirl which never descends into Strangled misogyny and is a nice enough single, but after “Lookin’ After Number One” it’s a pity that Geldof & Co didn’t have a chance to get into the studio and cut a real single as a follow-up.

Still, like the voices go at the end of “Do The Rat”, “But what has all this got to do with punk rock?” “Uh . . . . ummm . . . nothing at all. (NME)

Have you noticed how ‘the’ has come back into fashion these days? it’s nice to see it back – it makes such a nice definite start to a name.

The Boomtown Rats have released an obvious favourite as their new single but they’d like it known it isn’t the same version as you’ll find on the album (Nice to see you’re not doing a Pistols number on us).

For sheer fun value the Rats have proved one of the year’s most enjoyable discoveries and this single, complete with neat school desk sleeve (brought to you in a variety of delightful colours) is well up to standard. (Record Mirror)

THE REVILLOS – “MOTOR BIKE BEAT” / “NO SUCH LUCK” (DINDISC DIN 5) JANUARY 1980

The Revillos ‘Motor Bike Beat’ – Although I’ll admit that this is a far better record than anything the original line-up ever did – fast, punchy and beautifully tinny – I can’t say that it does any more for me than any of their previous works. Still, it would be good to see it hit if only to cheer up Ian Cranna who’s determined to get them in ‘Smash Hits’ somehow. (Smash Hits)

IAN DURY & THE BLOCKHEADS – “SWEET GENE VINCENT” / “YOU’RE MORE THAN FAIR” (STIFF BUY 23) NOVEMBER 1977

Ian Dury’s “Sweet Gene Vincent” is a song and single by Ian Dury. Taken from his first solo album New Boots and Panties!! it was his second solo single and third solo release and is a tribute to Rock ‘n’ Roll singer Gene Vincent. It was released November 1977 on the single BUY 23 Sweet Gene Vincent / You’re More Than Fair and there was no picture sleeve released.

“Sweet Gene Vincent” remained in Ian Dury’s set list for almost his entire career, even after other faster paced songs like “Plaistow Patricia” and “Blackmail Man” had been dropped because of the singer’s worsening health and was played at his final concert at the London Palladium in February 2000. As of 2007, the Blockheads continue to use the song in their sets.

Ian Dury was a fan of Gene Vincent since his early to mid teens and claims to have bought every single Vincent produced. In an interview reprinted in Sex And Drugs And Rock And Roll: The Life of Ian Dury, Dury says that he first heard of Vincent via “Be-Bop-A-Lula”‘s inclusion in film The Girl Can’t Help It and admitted to being reduced to tears by the single as an adolescent.

For his whole career Dury would talk very sentimentally, sometimes poetically about Gene Vincent.

GENE VINCENT’S DEATH

It was Vincent’s death in 1971 that was a major prompt for Dury to make Kilburn and the High Roads a serious endeavour and his stage clothes of the time often reflected Vincent’s influence, notably black leather gloves. He also name checked the singer in one of his earliest original songs “Upminster Kid”, albeit under the singer’s ‘full’ name Gene Vincent Craddock.

Curiously Dury constantly denied that identification with the singer, also crippled and forced to wear a leg brace, was in any way an attraction. He apparently hadn’t even known Vincent was crippled when he first became a fan. What drew Dury’s attention to the singer was his voice and his look.

Dury chose Vincent’s first single, “Woman Love” as one of his 8 songs when he appeared on BBC Radio 4’s Desert Island Discs show. (Wiki)

THE POLICE – “SO LONELY” / “NO TIME THIS TIME” (A&M AMS 7402) OCTOBER 1978

The Police ‘So Lonely’ – This band have been complaining about their treatment by the critics. How is it, they argue, that 10cc can get away with white reggae, but they can’t? One answer is that 10cc don’t sound like Amen Corner doing a cover version of a Desmond Dekker song. That said, this is quite a lively knees-up, especially when the chorus gains speed. Maybe a little more speed would have helped all round. (NME)

Sting, Summers and Copeland produced one of the singles of the year in ‘Roxanne’. This is in the same vein – white reggae based on riddums and a race for hell breakneck hook. A good album track which could be a minor hit. (Record Mirror)

BLONDIE – “UNION CITY BLUE” / “LIVING IN THE REAL WORLD” (CHRYSALIS CHS 2400) NOVEMBER 1979

“Union City Blue” is a song by the American new wave band Blondie. The song was featured on their 1979 studio album Eat to the Beat. Written by Debbie Harry and Nigel Harrison, the song was inspired lyrically by Harry’s experiences while acting in the 1980 film Union City as well as her New Jersey roots.

Musically, the song features a drum part composed by drummer Clem Burke.

“Union City Blue” was released in the UK and Europe as the second single from Eat to the Beat, reaching number 13 in the UK. The single was not released in the US, despite drummer Burke’s later assertion that the song would have been a good single release.

The release was accompanied by a music video filmed aerially at the Union Dry Dock in nearby

Weehawken, New Jersey. The song has since seen critical acclaim and a remixed version saw commercial success in the 1990s.

UNION CITY BLUE FILM

“Union City Blue” was co-written by singer Debbie Harry and bassist Nigel Harrison. Harry based the lyrics and title of the song on her experiences acting in the 1980 movie Union City, which she had appeared in. According to Harry, she wrote the lyrics one evening during a break in the shooting.

Director Marcus Reichert later recalled that Harry was not allowed to sing on the film’s soundtrack for contractual reasons, so the song did not appear in the film. Harry, a New Jersey native, had also performed as a go-go dancer in Union City before finding success with Blondie.

Musically, Harry described the song as “one of Nigel’s English drinking songs.” Blondie drummer Clem Burke later stated that the song reflected the band’s New York origins.

Burke composed the drum part himself; he recalled, “I come up with my parts generally, and things like Union City or Dreaming, those were my parts, yeah.” Burke named the song as a favorite to perform, stating, “I definitely enjoy playing that.”

Alright Ron. Be strict but fair. Strict but fair. This is very boring, it’s not as good as earlier stuff – go on, treat yourself to that first album, ‘Parallel Lines’ fans – but it is fairly hummable.

Might be a hit, might not. You might buy it, but you might not. I might listen to the album again but then again I might not.

Use your money more profitably and buy the November issue of Playboy wherein Debbie tells about things weird and wonderful thus proving she is a deep and sensitive artist. I repeat this is quite boring, but then again maybe it’s not. (Record Mirror)

THE SKIDS – “CHARADE” / “GREY PARADE” (VIRGIN VS 288) SEPTEMBER 1979

The Skids ‘Charade’ – From their album “Days In Europa” (Virgin V-2138) released in 1979.

I used to own a copy of this 7” single but, somehow, it found a way to part company with me without so much as a by-your-leave, and, speaking as someone who’d baulk at even the thought of throwing out a lowly Black Lace record, it’s one of those countless vinyl mysteries which will forever haunt me.

JUMPSUIT

I’m glad to say the healing process for this little mishap was completed earlier this year when I finally acquired a copy of the second Skids long-player, “Days In Europa”, which, I have to say, wasn’t as consistently hot as I imagined it might be, but, still, “Charade” is worth a post on nostalgic grounds, albeit way much poppier than I remember it being back in the day.

Maybe it’s that yellow jumpsuit that Jobson’s wearing. And is that a black belt to make his waist look slim? Good grief, it’s like something Sheena Easton would wear.

A pneumatic drum intro and into an ‘I Fought The Law’ verse and ‘Masquerade’ chorus. Not new, in other words, but another tight, vital, Skids-sounding Skids single. (Record Mirror)

THE SKIDS – “WORKING FOR THE YANKEE DOLLAR” / “VANGUARD’S CRUSADE” (VIRGIN VS 306) NOVEMBER 1979

The Skids ‘Working For The Yankee Dollar’ – enjoyed a further year of chart success as “Masquerade” and “Working for the Yankee Dollar” reached the Top 20 in the UK chart.[2] The latter came from their second album, also released in 1979, Days in Europa, with the record’s production and keyboards by Bill Nelson.

Just before recording of the album commenced, Kellichan left the band and was temporarily replaced on drums by Rusty Egan (ex-Rich Kids, then with the band Visage and a New Romantic 1980s dance DJ at the Blitz club). Egan played on the album and later on the live concert tour of the record. Keyboard player Alistair Moore also temporarily joined the band to perform live with them.

He had been recruited to play Bill Nelson’s keyboard parts from the record. In November 1979, Mike Baillie, ex-Insect Bites, was recruited as a permanent band member, taking care of the drums, backing vocals and percussion). He slowly took over from Egan, while the band was still touring Days in Europa.

NAZI IDEOLOGY

Some of Jobson’s lyrics as well as the album cover caused controversy. It showed an Olympian being crowned with laurels by an Aryan-looking woman, and the lettering was in Gothic script. Some, including DJ John Peel, felt that this glorified Nazi ideology and it was indeed similar to posters from the 1936 Summer Olympics, held in Germany.

After the original version of the album had already been released, Canadian record producer Bruce Fairbairn was brought into the project. The original cover and the track “Pros and the Cons” were removed. The sleeve was completely re-designed and the song “Masquerade” added. The album was also remixed and the tracks re-sequenced. This second version was released in 1980. (wiki)

The big one and how can you resist it? A remixed track from the ‘Days In Europa’ album whereon one can hear every word thanks to Jobson’s new found enunciation.

The band’s biggest hit to date or else something is drastically wrong. Backed by unreleased track ‘Vanguard’s Crusade’, the story of an old man relating the tale of how the struggle was won and lost.

Another step away musically, you’ll like it. Move fast and secure a free single. Bowie and Mott’s ‘All The Young Dudes’ languishes in the fine philatelic sleeve and though the vocals are strained to the extreme, the guitar is superb. A great version of the song.

Also from another Peel session is ‘Hymns From A Haunted Ballroom’, this, a story in the traditions of Roald Dahl features a rolling repetition and keyboards from Midge Ure, who despite last week’s live report does not play ivories live with the band.

It is too early to single single of the year? Buy fellow fans. (Record Mirror)

THE POLICE – “WALKING ON THE MOON” / “VISIONS OF THE NIGHT” (A&M AMS 7494) NOVEMBER 1979

The Police ‘Walking On The Moon’ – Well what would you do if you had to follow up one of the greatest singles of the Seventies? You’d play it fairly safe and the boys have done with this pleasant, almost casual reggae affair. It’s a bit of a one paced proposition but I like it, even though I would have preferred to see “The Bed’s Too Big” get a shot. B-side is a previously un-issued rather raw rocker called “Visions Of The Night”. (Smash Hits)

Message to you, in a bottleneck: love letters, straight for our chart. made for one another.

A while since I’ve been persuaded by pop music, but this one is straight to my heart; there’s no doubt any longer. Now that The Police have won the necessary space – not to mention hearts – and their eyes are open, there’s no sleeping, no sweet nothings.

I sensed it the other night – on the think-tank pub jukebox – with ‘Message In A Bottle’: it’s no ordinary affair between those three and popular music’s form. Just between you and me, I hope that someone gets the . . . . . Drift around normative lines and tunes: Signifier Over Signified!

AN UNDENIABLE SERENADE

So dignified; what a leisurely affair! ‘Walking On The Moon’ is an undeniable serenade, hinged around popularity or sexuality or some post-euphoric sleight of hand-in-hand. ‘Walking On The Moon’ isn’t soft soil, understated thought it is. It’s risky dubble seduction: edible reggae and hungry pop interest.

Guitar and bass and drums meet in all the wrong places, at all the nicest times, so discreetly. There’s no point as such to the song – where it could all suddenly focus safely, assured of a meaning – so you’re left exhausted but . . . . not over the moon but . . . . kept hanging on.

All of which is the right pop path for a single which sounds like something Tim Buckley would have headed for, via recent dub twists: a little more bittersweet than most. Sting’s vocal recalls Buckley as lazy, speedy starsailor; less of a voice than a metaphor. What for? “Walking back from your house, walking on the moon . . . . ” I’ve thought this recently, but it’s nice to have accompaniment. Bought it yet? I’m grinning and fading away. (NME)

THE JAM – “DAVID WATTS” / “A” BOMB IN WARDOUR STREET” (POLYDOR 2059 054) AUGUST 1978

The Jam ‘David Watts’ – For almost too long it seemed The Jam had been left, spent and burned by their own runaway momentum, that they’d given their all in blinding rapid fire succession. Much too much, much too soon.

Paul Weller can deny it till he’s blue in the face, but The Jam’s second album sounded hurried, dizzy, incomplete, containing seeds of songs that should have been steadily nurtured instead of forced into a premature daylight.

It’s been said before but I’ll reiterate for ya: The Jam shouldn’t have put out that album, they should have concentrated on knocking out one hit single after another – like this one.

Forget the lacklustre ‘News Of The World’, this is The Jam as they were and should always be: riding out strong and furious and instinctive. Every time I play it, it just gets better.

And who is David Watts? One of Ray Davies’ (for it’s an old Kinks song circa ‘Village Green’ / ‘Something Else’) cast of fictitious characters.

The schoolboy who has it all and doesn’t even have to try. The kid who leads the team, wins the fights, passes his exams and gets the girl. There’s one in every class and it’s never you or me.

“Wish I could have all he’s got / HOY/ Wish I could be like David Watts . . .”

It applies the seductively naive vocal charm of ‘Happy Jack’ to the tense rhythmic paces of ‘Let’s Spend The Night Together’.

The Clash-like flip, ‘A Bomb In Wardour Street’ continues Weller’s fixation with faded Brit-pop-culture locations but is nowhere near as compelling and thus plays second fiddle. (NME)

This review is specially for Paul Weller who phoned up to ask why his single hadn’t been reviewed in RM, though it was already in the charts. This is not a precedent for other artists to follow, but I like young Weller so I don’t mind obliging.

The single is a double A – the other side is ‘A Bomb In Wardour Street’ which Rusty likes better. I like both of ’em and I’m pleased that The Jam are still hanging on in there, keeping their style but moving forward.

Singles like this will ensure their survival in the charts. I hadn’t heard The Kinks version of ‘David Watts’ which was written by Ray Davies, so I can’t compare them, but I do like The Jam’s crisp approach and clean production. All right Paul?
(Record Mirror, 02/09/78)

THE GREEN TELESCOPE – TWO BY TWO EP (IMAGINARY RECORDS 001) 1985

The Green Telescope ‘Two By Two’ EP – The Wump Records single by The Green Telescope was neo primal American 60s garage mayhem but this four song EP released in 1985 catches the future Cawdor lairds wearing their Dutch beat influences on their sleeves.

The first side compiles two Lenny Helsing originals titled ‘Two By Two’ and ‘A Glimpse’. Both of course are laden with attitude or should I say beatitude. The opener on side two is the quite marvelous ‘Make Me Stay’ written by Alan McLean. This is surely one of the very best neo garage beat tunes of the 80s revival.

‘Got no love, make me stay’…

The other song on the EP is a cover of ‘Thinkin’ About Today’ a 1966 wailer originally recorded by The Outsiders. A great song and thankfully The Green Telescope give a thrilling interpretation.

A while ago Lenny confirmed the line-up as follows:

Lenny Helsing (lead vocals, guitar, harmonica)
Bruce Lyall (organ)
Alan McLean (bass)
Gavin Henderson (drums, backing vocals)

Since I wrote this review several years ago I located a rare piece of “Two By Two” ephemera, this being the very rare alternative cover showing Steve Zodiac and Commander Zero, two characters from ‘Fireball XL5’.

At first I thought the sleeve was a fake or one of those ‘fan’ home-made creations. It’s so well done and the quality of the material and ink made me doubt my suspicions.

UPDATE

I recently asked Lenny for the scoop and here’s what he had to say.

“We recorded the songs in 1985 for sure but the record wasn’t issued until Syd’s birthday on 6th January 1986. Ah ha well well, look what we have here. It’s not a fake per se as it was done by Imaginary but I have to say totally without any say or input from me or any of the group!

We weren’t best pleased at the time for sure. The scoop is that Alan Duffy did it as I recall … as something a little different for the last ‘few’ copies of the last pressing.

I think he told me there were around 40 or 50 copies at most done with this sleeve. Of course we loved Fireball XL5 and Steve Zodiac but we wouldn’t have used that particular image on our group’s record!”

THE INMATES – “THE WALK” / “TALKIN’ WOMAN” (RADAR ADA 47) NOVEMBER 1979

The Inmates ‘The Walk’ – Mmmmm. The mighty Inmates, London’s newest and toughest purveyors of R&B, roll sleeves up and take on Jimmy McCracklin’s dance classic from the fifties with a confidence that will warm the heart of anyone who likes to take a little swagger with their stroll. Taken from their impressive “First Offence” album. (Smash Hits)

THE PRETENDERS – “BRASS IN POCKET” / “SWINGING LONDON” / “NERVOUS BUT SHY” (A REAL RECORDING ARE 11) NOVEMBER 1979

The Pretenders ‘Brass In Pocket’ – Well, they may be keeping us waiting a sinful long time for their debut album, but as long as they can put out singles as simple and easy as this then they’ve got good reason to be confident.

This is less of a song than a series of remarks that gets its hooks in you with one perfectly simple guitar riff over a light and lovely rhythm. I think she’s got a sexy voice. (Smash Hits)

Whatever it is it isn’t worth the column inches that will be written about it so I won’t waste mine. Chrissie Hynde grits her teeth and delivers her art. One that is mildly interesting but not in the least entertaining.

All words and no music which is something they should never be. (Record Mirror)

DEAD KENNEDYS – “CALIFORNIA ÜBER ALLES” / “MAN WITH THE DOGS” (FAST PRODUCT F12) OCTOBER 1979

Dead Kennedys ‘California Uber Alles‘ – What, anarchy in the USA? This ‘controversial’ American band has been talked about for ages, but I can’t understand why.

The drums and bass at the beginning promise a possible goodie, but everything quickly merges into a flat, messy fuzz. Horrible voices, daft words. I’d sooner listen to Jimmy Carter. (Smash Hits)

Dead Kennedys rant against Zen lemmings began to take shape while Biafra was living in Boulder, Colorado – “a new age yuppie cesspool”, he says, “long before either term was invented. So many people crawling around looking for a guru to tell them what to do.”

GURU WANNABE

Moving to San Francisco, Biafra was horrified to find such a guru wannabe there – California’s Governor Jerry Brown. His line that the people were looking for a leader sent “a chill” down Biafra’s spine and inspired a song crammed with heady allusions; Orwell’s 1984, Bergman’s The Serpent’s Egg and the German national anthem.

The debut Kennedys single became a popular concert singalong, though Biafra stopped goose-stepping around the stage when it was misinterpreted as pro-Nazi. It spawned many parodies, including Jello Over-rated. (Mojo)

PUBLIC IMAGE LTD – “DEATH DISCO” / “NO BIRDS DO SING” (VIRGIN VS 274) JUNE 1979

Even Bowie didn’t go to such extremities to lay Ziggy to rest.

GUITARS SCRATCH AWAY LIKE RATS

Tuneless, formless, directionless, mindless, king’s-new-clothes moo-stick. Absolute tripe. (Smash Hits)

THE RAIN PARADE AT DINGWALLS, MAY 1985

The Rain Parade at Dingwalls – Tonight I dearly wished I’d given my spare plus one to an international terrorist. For in one smiling swoop, a cluster bomb detonated in Dingwalls would have obliterated a goodly percentage of the fleas that feed on the stinking back of the Musick Biz hyena.

As you will have gathered, Rain Parade’s first European jaunt was big news – a sell out, with many turned away, and with a ‘as I was saying to John in the sales department’ type of buzzzzz. Bees ’round the honeypot.

THE PAISLEY UNDERGROUND

Pot! Hah! The selling of America’s so-called ‘paisley underground’ by the pound, of £SD, during the past few months with the likes of Green On Red, The Long Ryders, True West and so on, has not been without some arch ironies.

Like, musicians involved tell me that as a cohesive scene it hardly exists in the States. So it isn’t an accident that so many of the bands are taking a trip to Grotsville, England, to play toilets. We’re, after all, superior in the art of trends.

The pleasant perversion is that the sonic charge is more than a tab in the ocean, more than a fashion passion. There are always more Paisley shirts in the audience than onstage when these West Coast chaps come to London.

But the only rain was my inward tears of frustration. To be Frank, instead of Jack, for a second, Matthew Piucci and his pranksters clicked, slick. Theirs is what used to be called ‘head music’, perfect on vinyl. But at this gig, far from blowing minds, they simply blew it. (Sounds)

THE JAM – “THE ETON RIFLES” / “SEE-SAW” (POLYDOR POSP 83) OCTOBER 1979

The Jam ‘Eton Rifles’ – For their naivety, their occasional errors of judgement and the periods of confusion and self-doubt they seem to suffer, The Jam’s determination to push against the barriers of style and against the limited outlook of the cult they have more or less unwittingly spawned is a blessed relief.

If any British group is likely to forge a body of work with sufficient self-contained strength to survive the era then they are most probably that group.

“Eton Rifles” takes a cold look at some especially insidious British institutions, like letting little boys play with guns in Combined Cadet Corps, nationalism and class and other things that haven’t figured strongly in the charts since Elvis Costello’s “Oliver’s Army”. Except unlike “Oliver’s Army” it doesn’t soft-pedal the point. Its tone matches its ire.

The Jam made the first nouveau mod single last year when they cut “David Watts”. They’re not exactly hanging around waiting for the chance to make the last. And that’s what it’s all about. (NME)

Strong, an obvious hit and more adventurous than “When You’re Young” (if only in subject matter), but I’m sure all Jam fans are still waiting for another gem like “Down In The Tube Station At Midnight”. (Smash Hits)

VENOMOUS BUT MELODIC

The Jam’s breakthrough hit was introduced by a barrage of dissonant guitar and thundering bass, before settling down into one of their accepted classics – anthemic, aggressive and venomous but also melodic.

The song was based around a repetitive, quickfire bass line, allowing Weller to rip atonal chords out of his guitar (especially on the album version, which is noticeably longer than the single), though the aggressive mood was lightened in the middle by an organ solo.

“I saw this TV programme and thought it was a good title,” said Paul. “But the actual song is just a piss-take of the class system. I’m a very class conscious person. I realise it’s a joke and it shouldn’t really exist in the 1980s but it still does. It’s also a piss-take of these trendy socialists and fascists.

The song’s message was later underlined by the behaviour of some Eton schoolboys, who taunted demonstrators on one of the numerous ‘Right To Work’ marches against rising unemployment.” (John Reed)

THE VAPORS – “PRISONERS” / “SUNSTROKE” (UNITED ARTISTS BP 321) OCTOBER 1979

The Vapors ‘Prisoners’ – “It’s a hit, it’s a hit”, shouts Dave Hepworth as he runs into the office clutching the new single from Guildford band The Vapors. He sez it sounds like early Quo, but to me it has that kind of Undertones feel – neat and really poppy. A good debut single from a very young band. (Smash Hits)

BLONDIE – “DREAMING” / “SOUND ASLEEP” (CHRYSALIS CHS 2350) SEPTEMBER 1979

Blondie ‘Dreaming’ – In the blonde corner Deborah Harry of Hawthorne, New Jersey. Her second, Chris Stein, is rubbing her down with dollar bills and taking photographs of her with a hidden camera.

Deborah Harry used to have the lush voice, a voice of the texture people would have you believe shrill old harpy Ronnie Spector had, her and the rest of those pulp fiction fiftiettes.

A voice full of sex and padded-hip-nudge humour, when every syllable winked “Hi, you must be the guy from Securicor with my little gift” – a gold hearted, gold-haired gold-digger.

Her voice sounds like too many long nails have trailed carelessly across it, like too many long knives have found a haven in her back. Her defensiveness has damned up her soft sexiness; it’s a damn shame, a big loss, but one she encouraged by trying to live down to all the leers, and not standing up for herself.

From the cartoons, novellas and vignettes of that first great album to today’s serving by sitting and waiting – her singles are always concerned with hanging on telephones, losing love, picturing this or that, wishing and hoping and dreaming.

HER PRODUCT HORMONES ARE ALWAYS AT IT

Her mind may be lazy these days, but her Product hormones are always at it – churning out track after skimpy track, shoving them onto albums and stretching them out on singles, each flick of the creative wrist backed up and fortified by that beauty (Debbie and Chris love video so; this is why their band is split down the middle).

Blondie seem to conduct their business pretty successfully that way, but here’s the first time their record-breaking reflexes have carried through into performance; everyone involved sounds as though they left the bath running back in their abode.

Debbie mouths the obligatory sophisto-ingenue lyrics (song credited to her and Stein, as is the B-side – very greedy) and to hide her yawns the song has been given a pseudo-Spector tune and production; pathetic, weighing its trill, shrill treble against Spector’s 50-thousand-leagues-under-the-Statue-Of-Liberty boom.

Blondie, for all their sales and years, sound running scared. Spector treated the recording studio as his kingdom and the control buttons as his henchmen; Blondie have started to act like harassed immigrant tenants who can’t wait to see the back of the wretched place. (NME)

Blondie are getting typecast in their 45s, even if this is new from ‘Eat To The Beat’. But everybody will eat it so who’s to complain.

Sound-wise, it’s very ‘Picture This’ compromising with ‘Sunday Girl’. Another number one by the way. (Record Mirror)

STIFF LITTLE FINGERS – “STRAW DOGS” / “YOU CAN’T SAY CRAP ON THE RADIO” (CHRYSALIS CHS-2368) SEPTEMBER 1979

Stiff Little Fingers ‘Straw Dogs’ – Solid two sided punk release by SLF during the latter part of 1979 and almost a hit, just missing out on the Top 40 and probably an opportunity to appear on TOTP’s.

The record picture sleeve is in bad taste and I’m not sure what the relevance is, some guy (possibly drummer Jim Reilly) out of focus walking passed the window of a butcher’s shop, murdered animals hanging from hooks in the window.

Yeah, I’m a decades long vegetarian and animal rights supporter for many years. The SHIT cover aside both numbers are decent, especially the B-Side “You Can’t Say Crap On The Radio” where the band sound more like the Clash than ever before. Jake Burns’ vocals are all over the place on “Straw Dogs” and the hours chewing on rusty nails and swallowing flint sandpaper before recording in the studio pay off handsomely. (EXPO67)

Venomous crunchy vocals and a frenzo guitar from a band who now sound just a little bit better than all those things we used to see down The Roxy. You remember than little sweatbox in Neal St don’t you?

Aw, well, we used to go down there and . . . . (Record Mirror)

THE UNDERTONES – “HERE COMES THE SUMMER” / “ONE WAY LOVE” / “TOP TWENTY” (SIRE RECORDS SIR 4022) JULY 1979

The Undertones ‘Here Comes The Summer’ – I thought “Male Model” would have been a better single but this distinctive little pop gem will be a deserved hit anyway. Two tracks on the flip, neither on their album. (Smash Hits)

After 1967, 1979 is probably my favourite year for record releases. Back then it was always a joy to hear the latest single by The Undertones and ‘Here Comes The Summer’ from ’79 was no exception.

Now that I’m older and wiser I fully understand that The Undertones were very much influenced (in a small way) by 60s garage bands from the Nuggets compilation.

Members of the group have never hidden this fact. Back in 1979 when this record came out I was only 14 years old and had never heard of Nuggets, let alone what the 60s garage sound was all about.

‘Here Comes The Summer’ is a terrific punk tune with a mid 60s edge. It’s dominated by a combo organ, probably a Vox Continental. If anyone knows for sure please let me know. This song was also used in a UK advert recently.

BORROWS RIFF FROM ‘LAST TRAIN TO CLARKSVILLE

‘One Way Love’ on the flip borrows the riff from ‘Last Train To Clarksville’ and sounds so much like The Monkees. It’s the first time I’ve played the B-Side for decades….coolsville. (EXPO67)

Simple, classy and classic tune, worthy of a Small Faces 45 on the Immediate label, and there’s not much catchier than that. Those voices rejoicing about girls on the beach all covered in sand, they’re infinitely more moving and mind-jogging that young people are growing up in bombed-out Belfast than any brow-beating Fleet-Streeting anthems from Stiff Little Fingers about exploding barbed-wire.

SLF try too hard for instant credibility/sympathy/mileage, like a first-time-caller on an LBC phone-in:

“Hello Monty, I’ve got no arms or legs, I’m deaf, dumb and blind, me parrot’s got leprosy and all my children’s heads dropped off at birth, so I mustn’t grumble!” Bah!!

The Undertones hurt because they look like evacuees. Superior little beat band makes good single. Sounds easy, doesn’t it? (NME)

THE BUZZCOCKS – “HARMONY IN MY HEAD” / “SOMETHING’S GONE WRONG AGAIN” (UNITED ARTISTS UP 36541) JULY 1979

Buzzcocks “Harmony in My Head” was released as a single in 1979, reaching number 32 in the UK Singles Chart. It was written and sung by Steve Diggle. In a 2006 interview with Pitchfork Media, Diggle revealed he had smoked 20 cigarettes to achieve the gruff sound of the vocals.

The song title was also used as the name of a radio show hosted by singer Henry Rollins on Indie 103.1. Rollins stated in Fanatic, his book about the radio show’s first run that “Harmony in My Head” is his favorite Buzzcocks song.

RADIO, LIVE TRANSMISSION

CREATION: Here’s a brand new feature I’ve been meaning to do for several years! On my old blog I kind of touched on the idea but it never materialised beyond a couple of posts. This time around though I’m going to devote much more time to spinning records on my decks.

I’m spoiled for choice. I have a Stanton ST-150, fitted with an ISOkinetik Silver Melody Rosewood Magnesium headshell with mono Ortofon cartridge and a Technics SL-1200G complete with an Ortofon Concorde Club stereo cartridge. So, mono or stereo pressings will find their perfect home.

CONCEPT: To select five or six records from my vast archive, could be 45 RPM or albums. It doesn’t matter. There are no limits, no laws. My indulgence will be records released during the period 1977 to 1985, essentially my teenage discovery years, when I’d unearth influential discs played by late-evening Radio One DJ’s, John Peel and Richard Skinner.

I will spend some days re-discovering or being reacquainted with these records and explore all possibilities. I will offer some insights, provide a couple of photos or scans and perhaps even promote or encourage anyone to seek enlightenment.

COGNITION: I have no radio show or live transmission but I will post irregular Mixcloud “Transmissions” featuring records reviewed on ‘Yellow Paper Suns’ and that’s it. My focus is thoughts, words and reviews. They will be honest and straight to the point. I may even hate some of the records I’m going to post!

CONTROL: The title is inspired by a lyric from a Joy Division song. There will be no selection policy, nothing needs to flow, only my desire to expand my imagination and perception. Sonic art will colour my senses.

Well, here I go again with another playlist, or rather the records and CDs on rotation during the next week or so. One of the benefits of working from home is the chance to play some sounds and yesterday I laid my hands on three records by The Will-O-Bees.

The Will-O-Bees were an American folk based trio, similar in sound and structure to The Seekers, two older looking fellas and a young blond haired girl. I like their sound a lot but don’t expect turned-on psychedelia or garage rockers. Chart worthy hits were where they were at. I have no idea if they were a success in America but in England they missed out completely.

“It’s Not Easy” / “Looking Glass” (CBS 3263) December 1967

Here’s another number from The Will-O-Bees, this time around they’re going for a pure pop approach, aimed firmly at the Charts. “It’s Not Easy” must have had a decent showing in USA because the single was released on CBS in Britain. My copy is a promo disc and was probably a radio station copy or music journalist freebie.

Someone wrote “very good record” on the label and I’m inclined to agree. Written by the song-writing team of Barry Mann & Cynthia Weil.

At around this time other notable recordings of their songs were “Hungry” by Paul Revere & the Raiders, “Shades Of Gray” better known as a Monkees track but also recorded by The Will-O-Bees, and “Love Is Only Sleeping” by The Monkees from their “Headquarters” LP.

These are off the top of my head, I’m sure there will be more from 1967.
Great drum sound on this record. Drums can never sound like this again.

Here’s an obscurity on Era Records by an outfit calling themselves The Wizard’s, not sure what the grammatical error on the label is all about though! Both sides were written by Benny Lopez who was a former bass player with Thee Midniters.

“I’m A Blind” sounds like it’s heavily influenced by Dylan meets the Stones ripping off “I’m Free” . . . . the other side follows a similar vibration but adds orchestration. So, one side is Dylan, the other side is Donovan.

PSYCHEDELICSEX KICKS

Here’s a very obscure album called Psychedelicsex Kicks, this one is even brand new to me. I saw it on Amazon last week and had to have it! I’ve never bought any records from Amazon before so was a bit curious with regards to the packaging they would use to ship the item.

Thankfully, the record arrived unscathed and in one piece. They placed the LP inside the usual mailing envelopes commonly used for records but then placed the packaged album within a huge box, way too big. I’ve seen these boxes before from Amazon when they send HI-FI gear like amplifiers and speakers!

The music is typical hippie stuff, no drums or electric guitars. It’s all a head rush of tablas and sitars. No vocals either, spoken words over the hippie din.

The fella doesn’t even sound like he’s some totally wired street cat with a pocket full of acid tabs and bags of hash hidden down his socks. A very curious memento and a record to play when you just want to hang-out in the dark and smell some sweet smoke from an incense stick.

Revving up the pace somewhat with this stunning 3CD set from Cherry Red Records. They’ve hit the jackpot once again with their “Harmony In My Head” jaunt to the late ’70s. UK power pop and new wave is a whole lot of melodic fun and games. There’s so much to enjoy and discover within the box.

The booklet is an essential piece too, giving loads of information about each number, cool graphics and plenty of ephemera and graphics. A job very well done, let’s hope they create another set of UK power-pop soon.

“Poppies” is a new compilation discovery for me although it has been out a couple of years, saw it on eBay for the princely sum of £5 and it was a no-brainer. What can you get for a fiver these days?

All selections are obscure and deep album cuts from the Vanguard and Stax vaults, only thirteen tracks on this CD so I’m assuming this was originally vinyl only. Booklet stuffed full of information.

Counting down the days until retirement . . . . 19 days left!!! stick that fucker in your pipe and smoke it. Playing Turtles ’66 before I rub shoulders with thee kung-flu virus riddled masses in Asda.

AN IN DEPTH STUDY OF ONE OF ENGLAND'S MOST PROLIFIC GARAGE BANDS

The Higher State have been releasing singles on numerous labels over the years. These are the records and one-off pieces of ephemera you need!

“AND IN TIME” / “IF WE DON’T REALISE” (STATE RECORDS THS-001) 2007

Absolutely brilliant double sided slab of garage psych coolness. Totally authentic in every way. The thing that would confuse hip 60s martians dropping down to planet Earth and finding this record is the year of release on the label…2007!!!

Surely they would believe this was an artefact from an L.A band circa mid ’66. ‘If We Don’t Realise’ is an infectious punk jangler with great vocals from singer Marty Ratcliffe.

He was the front man of the ultra cool Mystreated in the 90s. This song is a masterpiece.

The other side is the frenzied fuzz punker ‘And In Time’. This cut has an awesome freakbeat ‘scattergun’ drumming style like those fabulous Keith Moon backbeats when The Who were still cocky London mods.

Both songs were written by Mole Lambert ex Mystreated and Embrooks. It also appears that they self produced this monstrous record in mono. They did a fine job. Oh yes, the 45 is a limited run of 500. Grab yours while you still can. (EXPO67)

“AND IN TIME” (LAMBERT)
“IF WE DON’T REALISE” (LAMBERT)

“7 & 7 IS”

Three song sampler, all cover versions and recorded at Shay Exotica Sandgate Sound Studios. (THS-PRO-001) 2007

“7 & 7 IS” (GRASS ROOTS / LOVE)
“YOU I’LL BE FOLLOWING” (GRASS ROOTS / LOVE)
“SMELL OF INCENSE” (WCPAEB)

“AUTOMATIC MOTION” / “TRIP ON HIGH” (13 O’CLOCK RECORDS 13OC-002) 2008

Just in at Renaissance Fair HQ is the brand new single from The Higher State. Both sides are quite amazing psych with a distinct acid-jangle attack. Here’s the promo video for ‘Automatic Motion’ ….check it out for yourselves and buy the 45….highly recommended. (EXPO67)

“AUTOMATIC MOTION” (WARREN)
“TRIP ON HIGH” (WARREN)

“MY TIME”

Three song sampler, all cover versions and recorded at Shay Exotica Sandgate Sound Studios. (THS-PRO-004) 2008

“MY TIME” (GOLDEN DAWN)
“YOU CAN FORGET ABOUT THAT” (THURSDAY’S CHILDREN)
“LEVITATION” (13TH FLOOR ELEVATORS)

“SONG OF THE AUTUMN” / “PRECIOUS RINGS AND STONES” (13 O’CLOCK RECORDS 13OC-005) 2010

Numbers recorded at Shay Exotica Sandgate Sound Studios, November 2009

“SONG OF THE AUTUMN” (RATCLIFFE)
“PRECIOUS RINGS AND STONES” (LAMBERT)

“I’LL ALWAYS BE AROUND” / “TRANSPARENT DAY” (GET HIP RECORDS GH-252) 2011

The UK’s leading folk-rock exponents are back with two brand new cuts, exclusively recorded for Get Hip at Sandgate Sound Studios.

The topside original is trademark State, rich in vocal harmonies and ringing Rickenbacker, tempered by some tasty fuzz. The flip is a luscious take on the West Coast Pop Art Experimental Band’s 1967 classic, “Transparent Day” (Get Hip)

‘60S GARAGE PURISTS

Groups like The Higher State should be cherished in this day and age of bland corporate rock music. Not that many purist ’60s influenced combos exist anymore, especially those re-treading the folk-rock steps of greats like WCPAEB and Merrell Fankhauser & HMS Bounty.

‘I’ll Always Be Around’ is classy folk-rock with jangle and vocal harmonies. On the flip ‘Transparent Day’ is a stupendous version of the WCPAEB gem. Get this record while you can cos it won’t always be around. (EXPO67)

“I’LL ALWAYS BE AROUND” (RATCLIFFE)
“TRANSPARENT DAY” (WCPAEB)

“I JUST PRETEND” / “AIN’T IT HARD” (13 O’CLOCK RECORDS 13OC-014) 2012

“I JUST PRETEND” (RATCLIFFE)
“AIN’T IT HARD” (GYPSY TRIPS / ELECTRIC PRUNES)

“SONG OF THE AUTUMN” AND OTHER NUMBERS

Exclusive and limited edition CD (only 50 copies made) featuring The Higher State recorded live, no overdubs, at Sandgate Sound Studios on the 25th and 26th February 2012.
Also included are three radio adverts.

“SONG OF THE AUTUMN” (RATCLIFFE)
FRINGE FACTORY RADIO AD
“AUTOMATIC MOTION” (WARREN)
NORTH EFFECTS RADIO AD
“DARKER BY THE DAY” (RATCLIFFE)
FREAKOUT AT THE GALLERY RADIO AD
“KNOW THAT YOU KNOW” (WARREN / RATCLIFFE / LAMBERT)

“POTENTIALLY (EVERYONE IS YOUR ENEMY)” / “ALL TIES THAT BIND” (STATE RECORDS THS-010) 2013

“POTENTIALLY (EVERYONE IS YOUR ENEMY)” (RATCLIFFE)
“ALL TIES THAT BIND” (LAMBERT)

“WAIT FOR MY LOVE” / “YOU DON’T KNOW” (CRUSTACEAN 52) 2014

Two numbers recorded for the Fruits De Mer record label, both 13th Floor Elevators songs.

“WAIT FOR MY LOVE” (13TH FLOOR ELEVATORS)
“YOU DON’T KNOW” (13TH FLOOR ELEVATORS)

“(CONSIDER IT) A DEBT REPAID” / “IN A WORLD THAT JUST DON’T CARE” (13 O’CLOCK RECORDS 13OC-020) 2015

Last year The Higher State lost two long time members when drummer Mole and guitarist Daniel Shaw left the band for personal reasons.

This came as a major surprise to me and I don’t think it’s been that well documented online as the remaining members Marty Ratcliffe and Paul Messis don’t really do the social media thing.

STUDIO BASED BAND

I must admit that I was in a ‘state’ of worry when I heard the news. Would one of my favourite contemporary groups decide to just call it quits and move on to other projects? As you probably know, Paul has his own small record label and solo career.

Thankfully my fears were short lived when I received emails from both Paul and Marty letting me know that they did intend to carry on and would release discs in the future but would probably remain a studio based outfit.

The first fruits of their partnership is this fantastic twin spin on the highly collectable 13 O’Clock Records and it’s a record I highly recommend that you add to your collection.

Both sides have thee purist “State” sound we’ve come to expect but this time the emphasis is on a Texas ’66 garage sound. They’ve also added some moody organ thrills into the mix of jangle, fuzz and charm.

“(Consider It) A Debt Repaid” written by Marty, is a beautiful garage noise. It’s so easy to inject your mind with The Higher State’s treble-tone guitar soundscapes when they sound as sweet as this.

The other side “In A World That Just Don’t Care” is a typical Paul Messis song. His lyrics are forever introspective, which is his great strength. Check out this verse and you’ll soon be on his trip. This cut somehow reminds me of Thursday’s Children’s “You Can Forget About That”

“The roll of the die
Won’t help you reach paradise.
The light it will shine
And burn in your open eyes.”

Both sides of the disc were recorded at ‘Mom’s Landin’
It’s an RPM production and mastered by Tim Warren at Crypt. (EXPO67)

“(CONSIDER IT) A DEBT REPAID” (RATCLIFFE)
“IN A WORLD THAT JUST DON’T CARE” (MESSIS)

“YOUR CASTING DOUBT” / “X-RAY DAY” (MARKET SQUARE RECORDS MSR-016) 2017

Both sides recorded at Moms Landin’ Studios
Limited edition of 300 records. Produced by Marty Ratcliffe, mastered by Tim Waren at Crypt.

“YOUR CASTING DOUBT” (RATCLIFFE)
“X-RAY DAY” (RATCLIFFE)

“TEN CLEAR PETALS” / “DARK NIGHT OF THE SOUL” (13 O’CLOCK RECORDS 13OC-030) 2018

“TEN CLEAR PETALS” (MESSIS)
“DARK NIGHT OF THE SOUL” (RATCLIFFE)

“IN THE MORNING I WILL ROAM” / “WINTER IS BLUE” (HYPNOTIC BRIDGE RECORDS HYP-005) 2019

“IN THE MORNING I WILL ROAM” (MESSIS)
“WINTER IS BLUE” (VASHTI BUNYAN)

“YOU MIGHT FIND OUT” / “COME WINTER RAIN” (LOST IN TYME RECORDS LIT45-008) 2021

Recorded and engineered by Marty Ratcliffe and Tim Ray.
Mastered by Alec Palao

Credits:
Paul Messis (6 and 12 string guitars, bass guitar on “You Might Find Out”
Marty Ratcliffe (guitar, wrote both songs)
Ali (organ)
Scarlett (drums)
Huw (bass guitar on “Come Winter Rain”

links:
The Higher State
Lost In Tyme Records
13 O’Clock Records
Hypnotic Bridge Records

THE UNDERTONES – “JIMMY JIMMY” / “MARS BARS” (SIRE SIR 4015) APRIL 1979

The Undertones ‘Jimmy Jimmy’ – Yet another brilliant tune from Londonderry’s Undertones. This was their third single release and built upon the momentum gained from ‘Teenage Kicks’ and ‘Get Over You’. The song hit the top 20 and earned a TOTP appearance in May 1979.

‘Jimmy Jimmy’ is the sad tale of a young boy killed in Northern Ireland. But having reflected upon the meaning of the song have a smile at the picture cover showing a young Feargal Sharkey holding up a cup dressed in his school uniform. Great stuff indeed.

MARS BARS

The flip ‘Mars Bars’ is about every young boys favourite chocolate bar. (EXPO67)

Hmm. Either my record player is going on the blink again or The Undertones have made a disappointingly weak slab of nothing special, stitched together from bits of other people’s old rock hits. They can do a lot better and probably will. (Smash Hits)

“Rebel Rebel” meets “I’m A Boy.” Tremulous and charming. (NME)

Very little that can be said about down-the-line pure pop for 1977 people, except that The Undertones do it with sublime ease: that they still haven’t improved upon the fine ‘Teenage Kicks’ record, and that ‘Jimmy Jimmy’ will sound every bit as special buzzing from the AM waves as it will from the Rega 3. (Record Mirror, 21/04/79)

SHAM 69 – “QUESTIONS AND ANSWERS” / “I GOTTA SURVIVE” (POLYDOR POSP 27) MARCH 1979

Sham 69 ‘Questions And Answers’ – Ironic that just when Jimmy Pursey and his mates decide to disband (will they, won’t they?) they come up with one of their strongest ever records. Both “Questions And Answers” and “I Gotta Survive” on the flip are good, forthright songs that typify Pursey’s own character, and the band have seldom sounded fitter. If you’ve got to go, don’t be away too long, Jimmy. (Smash Hits)

Sony Mini-disc deck MDS-JE520 – I’m not quite sure how my mind started wandering the other day to my Sony Mini-Disc player / recorder. After all, I’ve never thought about the format for well over a decade.

HI-FI STORAGE

Probably around fifteen years ago I packed this neglected HI-FI unit inside a black bin-liner and stored it away in the bottom of a pine wardrobe.

Fast forward to the back end of March 2021 and I’m thinking about what I could sell to raise some money in my retirement (in two months time) if I need to.

Please don’t think I’m a coffin dodger ready for the local skip. I’m not. I’m taking early retirement and I’ll have to make do with living on my works pension and top that up with savings.

Anyway, I digress. Back to my Sony Mini-Disc player / recorder.

Taking it out of it’s bin-liner shroud was like revealing an Egyptian mummy from it’s elaborate tomb. What was this ancient technology that my eyes beheld for the first time in almost two decades?

It looked gorgeous with straight edges, knobs, buttons and plenty of inputs. Oh man, this piece of kit was revelatory all over again.

AUDIOLAB 8300A

I hooked it up to my Audiolab 8300A and then spent an hour or so trying to find some actual mini-discs that I could play. I only found three, but I know there’s a box full of them somewhere. That particular search will have to wait for another day.

The music coming from the mini-disc was superb and easily a better, more dynamic sound than some of the CDs I was buying twenty odd years ago.

CDs sound quality has improved dramatically recently and I’m buying and listening to CDs way more than previously.

But now my focus has switched back to the mini-disc and I’m going to embrace this obsolete technology once again. I had a quick look on eBay and there are plenty of sellers trying to shift their unwanted blank mini-discs so I’ve placed some orders already.

Sony Mini-Disc MDS-JE520 User Manual

THE SEX PISTOLS – “SILLY THING” / “WHO KILLED BAMBI” (VIRGIN VS256) APRIL 1979

GENERATION X – ‘VALLEY OF THE DOLLS’ / ‘SHAKIN’ ALL OVER’ (CHRYSALIS CHS 2310) MARCH 1979

Generation X ‘Valley Of The Dolls’ – Billy Idol post Generation X became an Americanized watered down punk Elvis and this lack of cred has meant that many people of my generation tend to overlook the greatness of his English 70s punk group Generation X.

‘Valley Of The Dolls’ was a fair sized hit reaching as high as #23 in the Summer of 1979. The superb version of ‘Shakin’ All Over’ on the flip can rightly claim it’s place on my blog among all of the other cool sides I’ve posted over the years.

This updated version of the 1960 Johnny Kidd & The Pirates all time classic slice of rock ‘n roll was recorded by Generation X at the BBC Studios for a radio session but thankfully made it’s way onto vinyl on this release. (EXPO67)

Pity the poor tout; Gen X tart it up and trundle it out for another try. Pathetic really. Notice how Gen X stayed quietly up shit creek till the punk movement crumbled, whereupon they felt free to bribe people with Disney-coloured plastic, Top Of The Pops and songs about ’50s pop stars in the grand tradition of Showaddywaddy.

They may as well cough up at this late stage that they’re nothing more than this season’s Sweet – the teenage rampage rhetoric, the empty ambition, the tunnel vision – except for a large audience and a pair of successful song-writers. This is a real plodder by Billy and Tony, about how great Billy and Tony and their two friends are. Well up to your usual standards, boys. (NME)

THE CLASH – “ENGLISH CIVIL WAR” (JOHNNY COMES MARCHING HOME) / “PRESSURE DROP” (CBS 7082) MARCH 1979

The Clash ‘English Civil War’ – A wise enough if a miscued and rock ‘n’ rolly warning about all things uninformed and sinister that this chap can flow to easier than any tuppeny ha’penny “Oliver’s Army”. But then it was a CBS choice we hear.

The flip is the old Toots “Pressure Drop” from the set of yore but done more professionally, less manic. Now this is a good thing? It sounds OK anyway and they at least feel the stuff – which is more than can be said for the disgusting rubbish “ol’ Keef” pays his bills with.

(By the way, Richards’ junk was released this week too). Despite myself, The Clash are still the only rock group I would cross the road for. (NME)

There’s nowt wrong with this sceptic version of society except the tune. Surely Jones and Strummer could have come up with something better than “Johnny Comes Marching Home”. On the other hand, the very familiarity of the song could help sales. Gutsy and relevant but drab.

Also, it’s taken from the band’s “Give ‘Em Enough Rope” LP which most Clash fans will already own. There is a new song on the B-side, however, The Clash’s version of Toots & the Maytals “Pressure Drop”. (Smash Hits)

SIOUXSIE & THE BANSHEES – “THE STAIRCASE (MYSTERY)” / “20TH CENTURY BOY” (POLYDOR POSP 9) APRIL 1979

Siouxsie & the Banshees ‘The Staircase (Mystery)’ – Apart from the fact that most of today’s records are heavier sounding, a large chunk of ’70s new wave seems to be evolving into re-runs of either ’50s rock ‘n’ roll, early ’60s beat-pop, or, as in this case, late ’60s acid-rock.

The ‘mystery’ of the song is solved if you speculate that the band were zonked out of their brains when they wrote it. This is not necessarily a criticism; just an observation. In fact both sides of the record (the flip is their version of Marc Bolan’s “20th Century Boy”) are powerfully attractive. (Smash Hits)

So what’s left of punk rock. With the loss of the Pistols and the Americanisation of The Clash, we’re left with Sham 69 and Siouxsie & the Banshees. Both these bands are considered to be uncompromising in their idealism, and that seems to be a little odd in the circumstances.

Sham’s last hit was a celebration of going down the pub. Siouxsie & the Banshees gave us a song about Chinese takeaways.

Nothing too revolutionary about any of that. Since then, of course, both bands have made a bit of money and naturally you’d expect that to affect their choice of material. This time, maybe, a tune about wine bars from Sham and one about bistros from Siouxsie.

Siouxsie’s trying terribly hard to be mysterious as the hint in brackets might suggest. All four Banshees had a hand in the songwriting, but they seem to have misplaced the tune somewhere.

Nothing wrong with that, of course. Just the thing for oddball albums about fashionable psychiatry. Hardly the ticket, though for Radio One?? (NME)

Radio, Live Transmission #13 – What an weekend I’ve just had for wasting my money! And this song came into my head because buying a replacement iPad cable is anything but fucking easy.

I’ve just wasted around £30 buying two cables that either don’t fit the inputs (thought I needed a USB-C for my iPad Pro second generation, but the one I just bought doesn’t fit) so that was a complete and utter waste of my fucking time hot footing it up to Asda on a Sunday morning . . . . bunch of twats!

On Saturday I was shopping or at least having a browse in “Dobbies Garden Centre” and they were selling odd bits of tech gear including iPhone / iPad USB cables, so I took a chance and sadly that fucker doesn’t work either, so slow and obviously not compatible.

Oh well, there are worse things that can happen I suppose. Anyway, enough of my rant . . . I’m playing this mid ’60s flower folk-rock record by The Underground to cheer myself up!

They’re a band that lives up to it’s name (ie) they’re so underground, they’re unknown and forgotten. If they were indeed remembered at all.

As for the ‘sound’ on offer. Well both sides have that L.A folk rock backbeat with male/female vocals and harmonies. Think of typical bands of the era like The Peanut Butter Conspiracy and Yankee Dollar and you’ll form the pictures and hear the sounds in your minds of The Underground.

This 45 on Mainstream Records was sandwiched between releases on the label by The Wildflower ‘Baby Dear’ (Mainstream 659) and Fever Tree ‘I Can Beat Your Drum’ (Mainstream 661).

It also charted in some local areas reaching number 18 in Gary, Indiana in December 1966 and Top 20 in Akron, Ohio the following month.

A follow up single on Mainstream 667 titled ‘Get Him Out Of Your Mind’ / ‘Take Me Back’ sank without trace and The Underground were no more.

CD of choice today while idling my time away home-working, where I was as bored as a eunuch at an orgy, but with the freedom to listen to music . . . . . and it doesn’t come much more wig-lifting than The Standells first album “Dirty Water”.

From start to the finish it’s one of those albums I can listen and enjoy every number, they’re all here, including “Dirty Water”, “Little Sally Tease” “Medication” and an extended version of “Rari”.

This CD reissue on Sundazed from decades ago, I’m talking 1994! includes a previously unheard instrumental version of “Medication” which shows off Tony Valentino’s incredible guitar tone coaxed from his tasteful Vox AC-30 amp and tremelo pedal.

TRUE CONFESSIONS

Ah, The Undertones! I spent a couple of days this week playing “True Confessions”, a CD retrospective of their singles , A and B sides. Thirty two numbers spread over two CDs from the first single “Teenage Kicks to their last, “Chain Of Love” from 1983.

The early Undertones singles are all legendary, even the B-Sides, how about their take of “Let’s Talk About Girls” which they copied from The Chocolate Watch Band via the famous Nuggets compilation of ’60s garage and psychedelic tunes.

Long forgotten vintage Undertones burst out from my player with their hard edged R&B pub rock attack on “I Told You So” and I had no idea that the guitar riff on “One Way Love” had been stolen from “The Last Train To Clarksville” by The Monkees.

Their later period is a bit patchy and I’m not convinced by their soul-tinged numbers with girl backing singers. Not my scene at all.

We all had a favourite band when we were teenagers and still at school right? Well, my fan worship was aimed at The Jam. I bought their records, I bought their merchandise, I had Jam posters on my bedroom wall and I went to their gigs whenever they came to Newcastle.

My support for them waned from around the time they released the trumpet noise of “Absolute Begginers”, I was never much into anything they released after that one either although, like most fans, probably still bought their records out loyalty.

But it got to the point where I even stopped wasting my pocket money on their records. I never got around to buying “The Gift” when it was released during March 1982.

I heard a few tracks on the radio and of course “a Town Called Malice” was on “The Gift” but . . . . no, not my scene. I didn’t want to listen to all of the funky gibberish like “Precious”, “Trans-Global Express” or that crappy calypso bollocks “The Planner’s Dream Goes Wrong”.

Almost forty years later I decided to shell-out £3 for the CD. What had I missed? I knew that “Carnation” was created with the familiar Jam sound (similar to the soundscapes “Sound Affects”) and reminded me of another Weller love song “English Rose” from “All Mod Cons”.

There’s nothing else to gain my admiration on this. Sounds like Level 42 meets the Fun Boy Three or some other tedious crap like that. I’m even horrified that Bruce Foxton appears to sound like he’s ‘slapping’ his bass strings on a few numbers. Rick Buckler’s drum action is still magnificent.

CARNATIONS

But “Carnation” is a stupendous song so the £2 outlay is worth it for that song alone.

Sunday is usually the day when I have time to remaster some 45s, create FLACs, scan record labels and upload a video or two to my YouTube Channel “Opulent Conceptions“.

The Vistas were in for the EXPO67 treatment this morning, both sides of their rare disc on Tuff Records, operating out of Rochester, NY. I believe that the record was released sometime during 1963/64.

Both sides are surf instrumentals with the flip “Moon Relay” being the more inspired cut with a much tougher sound, edgy surf twang and reverb, clattering drum action and loud bass bombing.

The Whatt Four were an obscure psychedelic group from San Bernadino on the West Coast of America. They were no long haired hippie types though, preferring to play in a much more Anglophile style.

“You’re Wishin’ I Was Someone Else” has lashings of fuzz, attitude, searing guitar and just about everything else not associated with the in vogue post Sgt Pepper period of late 1967.

“Fields Of Peppermint” (Whiz Records) June 1970

the flip side is the backing track of “Fields Of Peppermint”

In an earlier life Willow Green were The Nomads of “Thoughts Of A Madman” fame.

Larry Deatherage: “The Nomads later released a record nationally on Double Shot/Whiz Records in 1970. The title of the A side was “Fields Of Peppermint” and the record company changed the name of the group to “Willowgreen”. The song got favorable write-ups in both Cashbox and Billboard magazines.

The song climbed to about 120 on the Billboard charts and was one of the top ten most requested airplays on a number of radio stations across the country.”

To the best of my memory “Thoughts—” was recorded in Gibsonville, N.C. and I guess the studio was affiliated with the Tornado label. “Willowgreen” b/w “Plastic Year” was recorded in 1969. King James was the name we chose for the label because our manager was James H. Johnson.

I guess he got in touch with Whiz records and they paid for us to go back in the studio and up-tempo the song which we did with the same personnel and they released the song nationally. Bruce Evans, Larry Deatherage, Mike Badgett, Gerry Martin and Mike Beason were the band members.

Whiz changed the song name to “Fields Of Peppermint” and the band name to “Willowgreen”

THE STRANGLERS – ‘(GET A) GRIP (ON YOURSELF)’/’LONDON LADY’ (UNITED ARTISTS UP 36211) FEBRUARY 1977

The Stranglers ‘(Get A) Grip (On Yourself)’ – looked and sounded very nasty indeed. Just take a look at the picture sleeve showing the group in all of their unkempt glory. They all look like they haven’t slept or been washed for days.

True story: Back in 1979 (it had to be then cos I was in the 3rd year at Comp taking in a boring French lesson…I dropped the subject a year later cos I was so shit at it) But, a lad in my class called Andrew Mole was a big Stranglers fan and had all of their records.

I asked him what he thought of the new Stranglers single at the time and he replied that he didn’t like The Stranglers any more cos he was more into Jethro Tull.

Jethro fucking Tull. The prog group fronted by a hippie standing on one leg playing a flute! What the frig happened to his taste in music. I’ve remembered this for decades.

I’m not quite sure of the name of the magazine this Stranglers image was published in. It’s one of those very rare pictures that hasn’t either been photographed by myself from an archived piece of ephemera or scanned. I believe it’s origins are from a German publication. (EXPO67)

They certainly looked nasty enough on the cover, like they hadn’t washed (or slept) in years. Together since ’74 The (Guildford) Stranglers were comparative journeymen by the time punk hit.

They famously had a run-in with The Damned at the 100 Club in December ’76 but their competence got a deal with UA.

‘Grip’ became the second major label punk single after ‘Anarchy’.

Dave Greenfield’s keyboards, and even a textural sax line behind Hugh Cornwell’s vocal, debunked punk’s back-to-basics methodology but, despite the fact that producer Martin Rushent was best known for his work with Shirley Bassey, ‘Grip’ forged a black-eyed basement sound for countless subsequent bands to copy. (Mojo)

CAPPED-TOOTH SMOOTHIE

The Phil McNeill Fan Club make their recording debut with a stunning double-sided single of distinctive, intelligent, contemporary rock ‘n’ roll that sounds like Roxy Music would have if that old capped-tooth smoothie Ferry had been influenced by The Doors (as opposed to Humphrey Bogart at the start of the male menopause).

The B-side, ‘London Lady’, is perhaps more like the noise you would have expected from a squad of elder punksters.

Hugh Cornwell’s slashed-out riffing more upfront on this two minute 25 song than on the A, where the main feature is Dave Greenfield’s swirling keyboards backing up the hook-line chorus (which is maybe strong enough to get them some “chart action”) (NME)

Julia’s father, The Honourable Major Blessington, rushed through the door. “I will not have punk rock in this house,” he explained. “Ere, hang abhat, that’s not bad. I’ll play it to the lads down at the mess. Sounds a bit like Roxy Music to me.” (Record Mirror)

Kanto YU2 Desktop speakers to the rescue – Sadly, my KEF X300A speakers had to be replaced this week. I only had them for about six years but the left speaker developed problems. I realised that something was wrong when there was little or no sound coming out of the left speaker.

It took a while to notice because I mainly play mono records but the other day I slapped a 70s punk single on the turntable and it sounded more than a little odd.

I was receiving a warm, rich sound out of the right speaker but very low sound out of the left. I swapped cables around, I even bought a new set of leads hoping that the old one’s were the problem and not my £700 worth of KEF gear.

Nothing changed. I was still getting next to no sound out of the left speaker.

I did some research online and read many threads on various forums and came to the conclusion that the internal DAC amplifier inside the left speaker had developed a fault. I’m without shame when I admit that I know nothing about HI-FI gear.

I know in my head the sound I want and that’s about it. The limits to my repairing / assembling ability is re-wiring a plug.

I really couldn’t be arsed to try and find someone who could repair the left speaker so I decided to invest in a brand new pair of white Kanto YU2 speakers. They’re priced at £220 so were within my budget.

I didn’t want to spend much over a couple of hundred quid. Reviews for the Kanto YU2 are excellent and are great value for money.

They arrived yesterday and I immediately set them up so I can play my turntable through them via a Graham Slee Accession pre-amp.

The speakers are very small, they’re about the same height as a Blu-Ray box but mighty in sound. They’re seriously great, I love them already and plan to add a Kanto subwoofer soon.

PUBLIC IMAGE LTD – “PUBLIC IMAGE” / “THE COWBOY SONG” (VIRGIN VS 228) OCTOBER 1978

Public Image Ltd ‘Public Image’ – Public Image have a lovely little sound, a long way from orthodox boring heavy rock with a punchy, light sound above that great bass and stuff.

But oh dear! What crummy lyrics you’ve come up with John Rotten, all whining about how your fans didn’t do you right, etc. Johnny Rotten performs autopsy on The Dead Pistols, full of lines about making his exit and not being the same as when he began.

The record’s only charm is when you hear it while thinking about everything that Johnny Rotten started and what he’s done, and then its charm is very considerable. It will get in the charts, but only on reputation.

It’s a shame, but Johnny Rotten will probably end up around 1988 like Iggy Pop, being touted around by some businessman on the strength of the outrageous band he used to be with, making offbeat records that impress a certain section of art-groupies and trying to play it straight to young audiences who were too young to be touched when he was good and now just want to see him hurt himself with cigarettes. Never mind, thanks for the memories and all that. (NME)

Once, Sid Vicious and Johnny Rotten were inseparable. But on October 13, 1978, as Sid appeared in a New York court charged with murder, Johnny (now plain John Lydon) unveiled his new, post Pistols project, a limited company with grand artistic and commercial aspirations.

The rumbling bass intro, cavernous drums and flanged guitar screamed new intent, but the voice – mock-idly muttering several “Hellos” before breaking into a Carry On cackle – was unmistakable. it was the voice of punk rock, and this time it was aimed at the injustices of the media (and, of course, Malcolm McLaren).

PiL took things further on their debut album, issued several weeks later and, definitively, on 1979’s Metal Box. (Mojo)

Oh, gosh, isn’t this all meaningful? Young Johnny Rotten stares wide eyed at the monster he became and does a Sinatra ‘My Way’ – “What you wanted was never made clear, behind the image was ignorance and fear.”

Poor little diddum.

I thought the great Rotten re-birth would throw up at least a few particles of so far hidden talent – but no. He shouts, he howls, he screams, he bawls, a la Sex Pistols.

And without the publicity of saying outrageous words on family TV shows he’s probably finished. I hope he invested his money well. (Record Mirror)

Radio, Live Transmission – Here we go again, the start of another week of listening to music in all formats. Could be CDs, vinyl LPs or the cherished 7″ single a.k.a. 45rpm. I have no organised plan of ACTion, most of the time I just check what’s out on the many shelves or flick through a load of singles in the many boxes I have filed away carefully and neatly inside EXPO67 HQ.

EXPO67 HQ SOUND GALLERY

How about San Fransisco based hippie combo The Travel Agency. They released a well regarded album in 1968 on Viva Records. As far as I know the recordings took place in Los Angeles, a Snuff Garrett production. There will be more information on the net I’m sure but for now I’ll leave it with this lone single from May 1969. Both cuts appear on their ’68 studio album.

“She Understands” / “What’s A Man” display the laid back, psychedelically charged West Coast sound that fans of the genre admire so much. “She Understand” reminds me of the Buffalo Springfield.

Who were the Traveling Salesmen? Not a great deal of information anywhere, no photos exist . . . . only this one-off single on RCA Victor from May 1967. What you get is “Days Of My Years” a yearning folk-pop number with jangle and a well produced vocal attack. At under two minutes, it’s a short and sweet piece of ear candy.

The flip is a version of “I’m Alive” which despite their best efforts can’t compete with the Hollies take but the guitar sound and drums are excellent.

Another official re-issue single I bought last week on the Solution label was the magnificent Turnstyle, both sides of this rare 45 intact, sounding delightful and weighing as much as Mama Cass. This record is heavy, no expense spared.

Turnstyle with the massive psychedelic pop gem ‘Riding A Wave’ drenched in dream fuzz with catchy tone bending hooks all coming together like a magical mind altering masterpiece.

The flip ‘Trot’ is equally as brilliant with rolling drums, a hard hitting bass groove & cutting sharp guitar that together freakout!

OFFICIAL RE-RELEASE

Fully remastered & officially re-released on limited press vinyl for the first time since the original 1968 Pye 45… (which will set you back a small fortune with some prices hitting close to £1k for a mint copy).

Both tracks written by the founder of the short lived Turnstyle, 17 year old drummer/songwriter Mark Ashton who later received fame in Rare Bird.

Over the last couple of days I’ve been playing ‘Dutch Beat Explosion’ CD. This is a must have for lovers of pop and beat Dutch style….

As you know, mid 60s bands from Holland seemed to be obsessed by The Pretty Things, so most of the time what YOU get is R’&’B with or without fuzz guitars…

’60S DUTCH BEAT

The interesting thing about ‘Dutch Beat Explosion’ is that Distortions have delved deeper and compiled a good quality set of Searchers and Byrds inspired folk-rock jangle…..some tunes don’t make any impression with me but most are memorable especially those by The Sandy Coast, The Toreros, The Condors and The Cavaliers.

“Join Hands”, the 1979 album by Siouxsie & the Banshees is an interesting sonic trip of post-punk rhythms, jagged, edgy guitars and wailing banshee vocals / yelps from Siouxsie. Most of the songs are enjoyable and experimental.

Not a pop hit anywhere to be seen or rather heard. “Hong Kong Garden” would be a difficult one to top I suppose but they tried with “The Staircase (Mystery)” and “Playground Twist” with mixed success. The latter number is here as well as “Love In A Void” a bonus cut on the CD with the previously unreleased instrumental “Infantry”.

All of Side One has a strange congenial appeal, strange because I’m not really understanding where the band are coming from lyrically. Songs like “Poppy Day” and “Regal Zone” are album fodder, nothing really catchy or worthy of staying in my head for much more than ten minutes. But having said that they really are captivating.

“Mother / Oh Mein Papa” is a dark dirge of noise, something to put on when you’re trying to get rid of company who have outstayed their welcome.

The Trees -‘Don’t Miss The Turn’/’Your Life’ (Bali-Hi 808) 1968
Years ago I uploaded their fierce fuzz punker “Don’t Miss The Turn” so here’s the flip “Your Life”, a lot more pop sounding and possibly the A-Side.

The U.S. Males – “Come Out Of The Rain” / “Open Up Your Heart” (Britania Records B-101) August 1968
Two good pop sides with “Come Out Of The Rain” slightly edging it due to it’s Five Americans pop style. A product of Abnak so they may have been an influence.

BUZZCOCKS – “EVERYBODY’S HAPPY NOWADAYS” / “WHY CAN’T I TOUCH IT?” (UNITED ARTISTS UP 36499) MARCH 1979

Buzzcocks ‘Everybody’s Happy Nowadays’ – Also inspired by a book (wot a lot of swots these pop chaps are), this time it’s Aldous Huxley’s Brave New World. Couldn’t stand it at first but there’s something deviously hypnotic about Buzzcocks discordant rock. Now I sing a long to the chorus. (Smash Hits, March 1979)

I’ve saved the worst for last. Pete Bysshe Shelley is now closer to Smokie than Smokey Robinson, nearer to being a shrieking fish-husband shrew than Mr Wonderful. By any standards – especially those of the quality goods he’s been effortlessly knocking out over the last couple of years/

This single is truly awesome in its slipshod shabbiness, the most flaccid romance of the ages. A REAL PIECE OF SHIT. Buzzcocks fans should feel betrayed, Shelley should be so overcome with shame that he does himself or Steve Diggle an injury.

“Life’s an illusion, love is a dream

But I don’t know what it is.

Everyone’s saying things to me

But I know it’s OK, OK!”

Well, as long as you’re happy, Pete. And to think that when we were children we had the nerve to laugh at John and Yoko for sitting in a sack. (NME)

DR FEELGOOD – “MILK AND ALCOHOL” / “EVERY KIND OF VICE” (UNITED ARTISTS UAG 30184) JANUARY 1979

Dr Feelgood “Milk and Alcohol” – is a song by the band Dr. Feelgood, that reached number nine in the UK Singles Chart in 1979. Written by Nick Lowe and Gypie Mayo, and produced by Richard Gottehrer, the song was Dr. Feelgood’s biggest hit and continues to be played by the band.

“Milk and Alcohol”, written in 1978 by Nick Lowe and John “Gypie” Mayo, reportedly retells Lowe’s 1970s experiences drinking one too many Kahlúa-milk drinks at or after a United States concert by bluesman John Lee Hooker.

INSPIRED BY JOHN LEE HOOKER

However, while the song anonymously criticises Hooker (“Main attraction dead on his feet, Black man rhythm with a white boy beat”), ironically it was inspired by Hooker’s own lyric about “milk, cream and alcohol”.

The song was recorded in 1978 and first appeared on Private Practice, an album by Dr. Feelgood that was released in October 1978. The heavy riffs on “Milk and Alcohol” were added by Mayo, a guitarist who replaced Wilko Johnson in 1978, after Johnson left the band as a result of an argument over the recording of Dr. Feelgood’s fourth album, Sneakin’ Suspicion (1977).

“Milk and Alcohol” was released as a single in January 1979. The vinyl material of the single record was issued in the three colours of black, white and brown, with the white and brown meant to call to mind white milk and brown alcohol. The outline of a Kahlúa bottle appears on the record sleeve.

The background around the bottle on the different record sleeves was varied to match the vinyl colour.

The song reached the Top 10 in the UK Singles Chart in the same month it was released. The track reached number nine in the United Kingdom chart, in part due to the song’s reference to the milk and alcohol drink, and spent nine weeks in the listing.

Capitalizing on the notoriety the song brought, the band presented “Milk and Alcohol” live to audiences around the world in 1979, including in Japan, Australia, New Zealand, the Middle East, Russia and the United States. (wiki)

BLONDIE – “HEART OF GLASS” ON BOTH SIDES (CHRYSALIS 100.337) JANUARY 1979

Blondie “Heart of Glass” – is a song by the American new wave band Blondie, written by singer Debbie Harry and guitarist Chris Stein. It was featured on the band’s third studio album, Parallel Lines (1978), and was released as the album’s third single in January 1979 and reached number one on the charts in several countries, including the United States and the United Kingdom.

Exactly who decided to give the song a more pronounced disco vibe is subject to differing recollections. On some occasions, the producer Mike Chapman has stated that he convinced Harry and Stein to give the song a disco twist. On other occasions, Chapman has credited Harry with the idea.

As a band, Blondie had experimented with disco before, both in the predecessors to “Heart of Glass” and in live cover songs that the band played at shows. Bassist Gary Valentine noted that the set list for early Blondie shows often included disco hits such as “Honey Bee” or “My Imagination”.

In an interview published in the February 4, 1978, edition of NME, Debbie Harry expressed her affinity for the Euro disco music of Giorgio Moroder, stating that “It’s commercial, but it’s good, it says something… that’s the kind of stuff that I want to do”.

JOHNNY BLITZ BENEFIT

A notable example of this type of musical experimentation occurred when Blondie covered Donna Summer’s “I Feel Love” at the Blitz Benefit on May 7, 1978. In his history of CBGB, music writer Roman Kozak described this event: “When Blondie played for the Johnny Blitz benefit in May, 1978, they surprised everyone with a rendition of Donna Summer’s ‘I Feel Love’.

It was arguably the first time in New York, in the middle of the great rock versus disco split, that a rock band had played a disco song. Blondie went on to record ‘Heart of Glass,’ other groups recorded other danceable songs, and dance rock was born.”

The song was ultimately given the disco orientation that made the song one of the best-known Blondie recordings. For the single release the track was remixed by Chapman, with the double-tracked bass drum even more accentuated.

Radio, Live Transmission – Just before the latest lock-down I bought some vinyl records from ‘Hot Rats’ in Sunderland and I’m just getting around to playing some of them now. I was quite amazed to find a 10″ re-issue of an ancient ’60 psych / garage compilation called “The Magic Cube”.

This record originally came out in 1982 and a year before I discovered underground sixties psychedelia and garage punk. I didn’t even buy and original back in the eighties because they were very scarce, I can’t remember ever seeing a copy for sale in any of the record shops I used to inhabit on a regular basis.

some information about this disc:

10′ hand-numbered coloured vinyl with pop-up cube. One of the earliest psychedelic compilations and probably the strangest is The Magic Cube, which appeared inexplicably in 1982 in hip record emporiums around the world.

A limited edition 9″ flexi disc housed in a card envelope. When it was opened it unleashed a pop up psychedelic cardboard cube emerged to mystify and confuse.

Purportedly the product of the same deranged collector mind who gave the world the first Acid Dreams compilation, Magic Cube certainly contained some killer US 60s garage psych punk, not least the stupendously rare Children of the Mushroom‘s You Can’t Erase a Mirror and The Bedlam Four‘s crazed ‘Hydrogen Atom’ as well as The Front Page News fuzz fest ‘Thoughts’ and six other US ’60s acid punk psych diadems.

On Sunday I pulled out an original 45 from one of my many boxes of US garage / psych in my archive. Thackeray Rocke caught my eye. “Tobacco Road” / “Can’t You See” (Castalia ARA 268) 1968
Obscure psychedelic rock group from Phoenix, Arizona.

This was their second and final 45. Interestingly the production is in stereo. Check out the heavy psych leads, liquid fuzz attack and flashing tambourine.

B-side of ‘Tobacco Road’ (at least that’s what I think. My copy appears to come from an old radio station. Someone has scribbled through the title on the label usually meaning that the DJ wasn’t to play this side!

“Can’t You See” has never been compiled before and it’s the first time on YouTube. After a few plays the number really starts to have an effect. Moody psychedelic rock.

Working from home has gotten me all excited. This morning was Monday and I usually feel the ‘work-day blues’ because I know it’s a long trip of shit until Friday, before I can dive into the weekend. I was really buzzin’ for a change, now I know what a fat bloke feels like walking into a pie shop.

The main advantage with home working and a way to wash away the humdrum boredom of bashing away on a keyboard all day is the chance to play CDs and listen to podcasts.

This morning a listened to three mixes of “Psych-A-Rella” on Barrel House radio. Lot’s of choice ’60s garage, psych and freakbeat on offer and it’s well worth your time and effort to tune in.

Next up for a dream-away day is this CD collection called Ripples #8, sub titled ‘Butterfly’ . . . . Gathered here for your delectation are hopelessly rare or obscure examples of adventurous pop records during that golden age of 1968/69.

Explore material rich with harmony vocals, chiming instrumentation, pure pop onslaughts of flower-power and paisley reverie. One look at the exotic band names suggests an overdose of sunshine charm.

The Rainbow People, Floribunda Rose, The Onyx, The Quiet World Of Lea & John, The Candy Dates, Anan and Strawberry Jam. When was the last time you happened upon names like that?

The Ripples series of CDs were released on the now defunct Sequel label around twenty years ago, they were sought after then and command decent prices nowadays if you’re lucky enough to find a collector willing to sell.

How would my life have evolved without the music of The Byrds? It’s a question I often ask myself. Somehow I discovered the Byrds in 1981, I was still at school. At that time all of my friends were either into punk or starting to become influenced in their record buying persuasions with the pioneering synth-based groups such as OMD and early new wave acts like B-Movie.

I believe I got interested in the Byrds after reading a music press article about Aussie neo-psych band The Church. They named checked Roger McGuinn who played a 12 string Rickenbacker guitar, similar to the weapon of choice of Marty Willson-Piper.

Well, it was obvious that I needed to investigated because I loved The Church’s jangle sound. Who were The Byrds? and where do I find their records? That had to wait until a year later when I located a Byrds ‘Singles Collection’ LP in Boots, Sunderland. Yes!! Boots used to sell records. Can you believe that!

Today I listened to ‘Fifth Dimension’ a couple of times. It still sounds amazing for 1966. No group had their supreme and beyond wonderful sonic soundscapes in ’66, not even the Beatles. The album had a defining influence on American rock which is as deep and profound today with many underground garage groups.

After a week of home-working I’m really starting to see the benefits. So sitting at home clattering away aimlessly on a keyboard is not my idea of everlasting fulfillment but at least my shit work pays the bills.

My Office freedom also means I’m playing CDs and today’s cranium distorter was the sublime album ‘Forever Changes’ . . . . once again. There is not a better album than this anywhere on the Planet. I’ve lost count the number of times I’ve played this record since the eighties. Everything about this disc is simply beautiful.

It’s a wondrous time capsule of 1967 that virtually did nothing in America upon release and was favoured more by the heads in Britain.

MONO MIX

I chose to listen to the mono mix from the gorgeous box set released by Elektra a few years ago. Heaven is within your mind as well as on this record. Love, I salute you as being musical geniuses from another age and dimension.

Next up is the 4CD collection from Rhino “Where The Action Is!” and what you get for your blood money is a set of Los Angeles ‘Nuggets’ recorded by various outrageously potent groups and performers during thee golden period 1965 – 1968.

There are way too many way-out cuts here to single any one out, buy the fuck outta this if you see it for sale, it’s almost twenty years old now but should still be easily obtainable.

GOVERNMENT DRONE

I have my impending retirement soon, I’m getting out of the rat race long before time (at 56) I no longer feel the need to be a Government drone. Try as much as they did to change my ways and ‘become compliant and one of them’ and believe me they tried, I’m still skulking around doing my own thing after thirty odd years.

Nothing and no-one will ever manipulate me into becoming square or one of those meek weaklings who uphold petty rules even at the expense of common sense just because it’s written in the codes of conduct.

Which brings me to the Black Diamonds, a group of teenage Australian hooligans hellbent on being the most fierce sounding bunch of outsiders that has ever existed within the grooves of a 7″ record. This is 1966, but it could also be the sound of the apocalypse if the lead singer doesn’t get his girl.

Thankfully new re-issue label Solution Records have resurrected this beast from thee ashes . . . . . rejoice one of the most powerful, angst-drenched 45s to come out of Australia EVER!!!

This 1966 monster has EVERYTHING – pounding drums, AS Olomans manic high pitched guitar – the driving, Entwistle-style bass and those strained, emotive vocals made this a regional hit and was only the b-side!

The band came from Lithgow, New South Wales, quickly establishing themselves as the best act around, earning a deal with Festival Records and were about from 1965 until 1971, but only had two singles out unfortunately. They evolved into Tymepiece in 1967, moving into a more progressive sound, but left this behind thankfully on it’s first official reissue

Made with full blessing from the band, this ace 45 comes in specially made company paper sleeves in wavy tops

THEATRE OF HATE – “DO YOU BELIEVE IN THE WESTWORLD” / “PROPAGANDA” (BURNING ROME BRR 2) DECEMBER 1981

Theatre Of Hate ‘Do You Believe In The Westworld‘ – There were a lot of young lads dressing like Theatre Of Hate when I was a teenager hangin’ out in the indie / punk pubs in Sunderland. You know, flat-top hair style, short at the sides and back, short-sleeved checked or white shirts, jeans and beetle crushers.

“Do You Believe In The Westworld” was also a regular play by the DJ’s in the clubs and the punks were forever dropping their shiny ten pence pieces into the jukebox for a rave-up while playing pool.

Singer Kirk Brandon had his own distinct style of presentation and vocals, can’t think of many who sounded like him. Check out his Red Indian inspired wailing.

An atmospheric number that just failed to hit really big in Britain although the band did make an appearance on Top Of The Pops. Produced by Clash man Mick Jones, released December 1981. (EXPO67)

This one gallops and has brass on it, but as ever, it’s chiefly distinguished by the remarkable muezzin voice of Kirk Brandon. More palatable than ‘Nero’, but in consequence less compelling, it confirms Theatre Of Hate’s place as one of the ultimate love – or hate – groups.

I confess having been dragged into unwilling admiration of ‘Nero’, to enjoy their barely reined cacophony, but it has been known to send grown men screaming from the vicinity of the RM gramophone.

Great for upsetting your parents / neighbours / unwanted friends with. (Record Mirror)

THE REZILLOS “DESTINATION VENUS” / “MYSTERY ACTION” (SIRE SIR 4008) NOVEMBER 1978

The Rezillos “Destination Venus” – In October 1978 the group recorded a new single, with producer Martin Rushent at The Manor, for release the following month.

By now there were growing tensions within the band about the group’s future direction (Smythe observed that from the start there had always been two factions within the band, one centred on boyfriend/girlfriend vocalists Reynolds and Fife, and the other on songwriter Callis, and with what they felt was poor treatment from their label.

Reynolds was unhappy with Sire’s choice of photographer for the single’s cover and the single’s mix and £5000 cost. Matters came to a head in November 1978, when after just five dates into a lengthy UK tour with The Undertones as support band, vocalist Fife developed scarring of the vocal cords, resulting in the postponement of the rest of the tour.

During the hiatus Fife recalled that Callis had told her and Reynolds that “the other three in the band wanted to toe the line more because of pressure from our manager, who was finding the job really difficult, and he was getting pressure from the record company to make us act as though we liked them”.

THE SPLIT

Reynolds and Fife refused to agree to this, and unable to reach a consensus, on 22 November 1978 the Rezillos made the decision to split up. They did, however, reunite to play the last scheduled date of the aborted tour at the Glasgow Apollo on 23 December 1978, as a farewell concert.

The show featured guest spots by former members William Mysterious on saxophone and Gail Warning on backing vocals. The concert was recorded and released in April 1979 as the live album Mission Accomplished … But the Beat Goes On.

In 1993 this record was included almost in its entirety on an expanded version of the début album, now retitled Can’t Stand the Rezillos: The (Almost) Complete Rezillos. (wiki)

Crazee little up-fronter from the world’s most lovable cartoon-characters and Scotland’s second-best band. hooky and rough enough to bridge the whole punk / pop market. A chart contender, surely, and deservedly so. (Record Mirror)

PRETENDERS – “STOP YOUR SOBBING” / “THE WAIT” (ARE 6) FEBRUARY 1979

The Pretenders ‘Stop Your Sobbing’ – Released February 1979 and a relatively small hit single for The Pretenders, reaching #34 in the British chart. Quite a faithful rendition of The Kinks number but with guitar jangle and that distinctive Chrissie Hynde double tracked vocal, produced by Nick Lowe.

Younger readers take note: an immense amount of today’s records are deliberately or indirectly based on Anglo-American pop / rock of the late ’50s and early ’60s.

There’s no better example than this vaguely Phil Spector influenced, Nick Lowe produced, instant hit (we hope) – featuring the multi-tracked vocal charms of Ms Chrissie Hynde. Great stuff. (Smash Hits, 08/02/79)

Only four months into my new blog and I’m already up to ‘Radio, Live Transmission #09’ which is essentially a playlist of the most recent CDs and records hitting my decks.

First up is this welcome CD collection of the best numbers from mid ’80s mod combo Makin’ Time, who almost made it into the mainstream. A popular and credible outfit on the mod / soul circuit but unfortunately they were forever destined to remain within that scene and darlings of circulating fanzines.

RHYTHM AND SOUL

So what’s on the CD? – There are 23 tracks, all from master tapes and sounding fabulous, nothing that I wouldn’t expect from Big Beat. The set features their complete recordings made for the cult Countdown label, featuring the respected ‘Rhythm & Soul’ album as well as single B-sides and 12″ mixes.

The booklet is packed with rare photos, label shots, gig posters and extensive liner notes with quotes from various band members.

Bubblegum gum band 1910 Fruitgum Co go all far-out with their introspective psychedelic number “Reflections From The Looking Glass” released on the B-Side of their International smash from ’68 “Simon Says”.

What a surprise the primary school kids would have received if they flipped over the teen pop side of the disc to play this turned-on tripper.

The Chylds – ‘I Want More (Lovin)’/’Hay Girl’ (Giant Records 101) May 1967

Here’s a super 60s teenbeat double-sider on Giant Records. The Chylds were from Canton, OH and were very popular in their area. So much so that a huge label like Warner Bros were impressed enough to sign them up and release this disc on their label in July ’67.

Both sides really MOVE with an R&B / soul crunch, seemingly very much influenced by Paul Revere & the Raiders with a coolsville Mysterians organ buzz.

Disc 3 from the recent ‘Halcyon Days’ CD box-set has been on heavy rotation play this week. Much of the material on this veers off into the freakbeat and psych mod domain, and it’s all certainly wired for my mind.

The Tages set the scene with their sublime classic ‘Halcyon Days’ (obviously the inspiration for the title of this 3CD box-set) Lot’s of insanely great numbers on offer in beautiful sound quality. I can listen to Plastic Penny’s “Your Way To Tell Me Go” every day of the week. Pure sonic brain candy.

A new ’60s garage CD compilation called ‘Lost Innocence‘ is out right now on Big Beat and what a belter it is too. I’ve been waiting years for this one to come out, it was muted way back in time with the promise of Avengers numbers direct from the tape source.

Since the release was talked about, two of the Avengers members have died, so they’re not gonna get any plaudits that may have come their way.

This collection is top-rated West Coast vintage garage sounds from the vaults of maverick genius Gary S Paxton. Acknowledged classics, tantalizing obscurities and several previously unheard gems, all delivered from the original master tapes.

Listening to Echo & the Bunnymen nowadays takes me right back to my schoolboy teenage days and just after I left school in 1981. They were a top group and appealed to me at the time when I was searching for inspired and non-commercial underground sounds from a contemporary outfit.

MONEY JANGLING IN MY POCKETS

Having said that, at the time, I only ever bought their ‘Crocodiles’ album from 1980. Money was obviously tight back then without a job and only a small amount of pocket money jangling in my pockets.

Thankfully, I can still listen to them and get something out of their weird and strange sonic rhythms. They sound a lot more psychedelic than I remembered and the guitar work is excellent throughout. Perhaps the only cut that is pure dreck is the 12″ ‘discotheque’

Remix version of “Never Stop” during which I started thinking to myself “Never Start” – I won’t be playing that one ever again!

THE JAM – “GOING UNDERGROUND” / “THE DREAMS OF CHILDREN” (POLYDOR POSP 113) MARCH 1980

The Jam “Going Underground” – had been planned as a double A-side, coupled with this more experimental track, which mined the same faintly psychedelic seam and oblique lyrics of earlier songs like “In The Crowd”.

The intro was taken from an earlier song, “Thick As Thieves”. “When we finished of Setting Sons,” Paul explained, “I got the engineer to play the album backwards and there was just one little piece of backward vocal I liked. “The Dreams Of Children” was built around that, more-or-less made up on the spot.”

The technique reflected Paul’s growing love of British psychedelia, especially ’66 era Beatles and early Pink Floyd (I’ll tell you a guitarist I really do like and that’s Syd Barrett.” Paul proffered in 1981). (John Reed)

A perfect summation of Paul Weller’s progress to date. There’s the usual strident vocals, the staccato chords, smooth chorus and slippery key changes and still no concessions to accessibility.

The Jam are working now with more finesse than anyone around at the moment.

The first 100,000 copies have a live EP of ‘Away From The Numbers’, ‘This Is The Modern World’ and ‘Down In The Tube Station At Midnight’ – as if you needed any encouragement to buy. (Record Mirror)

RADIO, LIVE TRANSMISSION

PURE POP

THE THOMAS GROUP – ‘Penny Arcade’/’Ordinary Girl’ (Dunhill 45-D-4027) March 1966
The Thomas Group, for whatever reason, have rarely been compiled and are unknowns to most.

They were a group of clean cut teenagers that formed in 1965 at Beverley Hills High School, their style of play was not influenced by the so called Brit Invasion but pure pop with surf and folk rock overtones

They were talent spotted by Dunhill Records and put under the tutorage of famed songwriters P.F. Sloan & Steve Barri who wrote, arranged and produced most of their material. The Los Angeles ‘Wrecking Crew’ of Hal Blaine (drums), Joe Osborne (bass) and Larry Knechtel (keyboards) laid down the backbeats.

What The Thomas Group contributed in the studio is therefore unclear, probably just the vocals.

Curiously no Thomas Group songs were compiled on the recent Sloan & Barri CD collection released by Ace in 2010.

Both sides are sunshine pop charmers, well written and executed as you would expect. The falsetto on the chorus of ‘Penny Arcade’ is P.F. Sloan.

THE THOMAS GROUP – ‘Autumn’/’Don’t Start Me Talkin’ ‘Bout My Baby’ (Dunhill 45-D-4030) May 1966
The second Thomas Group 45 was released a few months after their debut and sold well in some markets.

Their profile was raised when they appeared on The Ed Sullivan Show and performed ‘Autumn’…Dear ‘Old Ed’ introduced them as having a ‘groovy, smooth rock sound’….

Once again P.F. Sloan and Steve Barri wrote and produced both sides adding background vocals. The sound of ‘Autumn’ is uplifting pure pop and should have been a massive hit, especially with the Ed Sullivan Show exposure.

THE THOMAS GROUP – ‘I’ve Got No More To Say’/’Then It Begins’ (RCA Victor D-4062) January 1967 (Canadian release)
The third Thomas Group single was released during the first month of 1967, some copies were housed in a picture sleeve. The back of the sleeve contained information about the group and it’s members.

It also confirmed that P.F. Sloan and Steve Barri were writing and producing exclusively for The Thomas Group. As it turned out, this 45 would be the last one written by the famous songwriting duo.

‘I’ve Got No More To Say’ has a passing Beatles influence and is probably the only song they recorded with an ‘English’ sound. The flip ‘Then It Begins’ comes across like a clever re-write of ‘Red Rubber Ball’.

line-up:
Tony Thomas (drums)
Greg Gilford (organ/lead vocals)
Marty Howard (lead guitar)
Robert Wallerstein (rhythm guitar)
David Goldsmith (bass)

In late 1967, Steven Gaines replaced Marty Howard on lead guitar.

12″ singles were very popular during the eighties and I acquired perhaps a dozen or so, they weren’t something I’d immediately want preferring the good old fashioned 7″ single.

I suppose the good thing about the twelve inch record was the chance to hear obscure tracks not on the single or even on the album at the time each group were promoting.

The Cult‘s “Spiritwalker” has the goth blues number “Flower In The Desert” on the B-side, which was probably why I bought this record in 1984.

I’m a key-worker and have been travelling to and from my Office since the first UK lock-down during the middle of March 2020. OK, you don’t all have to send me emails of congratulations and payments of love to my Paypal account.

Well, it’s taken a whole eleven months for my Employer to get around to ‘awarding’ me the luxury of working from home. On the 17th of March 2021, I made my Office space inside my spare bedroom a.k.a. EXPO67 HQ.

One thing remained the same though, my admin work is still absolutely shite no matter where I unhappily indulge in its tediousness. That personal viewpoint has dogged my mind for many years, but my work pays the bills and has enabled me to amass quite an incredible CD and record collection.

The huge bonus of now working from home, inside EXPO67 HQ, is that I’m thoroughly enjoying catching up on my CD playlist, or casually picking an item from the shelf and hearing sonic magic contained within the plastic.

On heavy rotation today was a Byrds CD I’ve had for a couple of decades, came out in the early 90s. The first thing that knocked me back somewhat is that all of the tracks are stereo mixes of the well known and most beautiful numbers I’m more familiar with in mono.

The Monkees ‘Changes’ album is completely new to me, I was always put off by it because it was released in 1970. I’ve never really gone beyond 1968 for sixties recordings. So, put my tentativeness down to my ‘village idiot’ tendencies and judging a book by it’s cover.

‘Changes’ is a worthy Monkees release that doesn’t appear to resonate with fans. Perhaps it was because by 1970 only Davy Jones and Micky Dolenz were left, they play no instruments on these recordings, only adding their vocals.

The huge surprise for me though is that a few of the numbers date from 1967 and one track in particular is an absolute BEAST. “99 Pounds” simply roars outta the cage, what a fabulous sounding garage rocker complete with some way-out organ and phenomenal Davy Jones punk screams. Davy has never sounded so gritty. A brilliant tune.

The Go Betweens at London King’s College – Since paedophilia got the better of intellect somewhere back in ’81 the shivering thrill of pop has been a rare pleasure. It’s certainly something you don’t expect to discover in the desolate surroundings of a miserable college gig.

But this was a night with the delight of surprise in the air, a night to look beyond the disconsolate tinsel of the pap parade and glory in the glint on the edge of the Go Betweens’ pop knife.

‘Before Hollywood’ has been the most unpredictable triumph of the year so far, an LP of cool subtlety but with a lingering shadow of sharper wit behind it. Just as the Postcard sound seemed ground down to a self-parodic simper, Orange Juice and Aztec Camera have dropped their gangly appeal and discovered their potential to be truly beautiful.

Now the slightest voice of early Postcard comes up with perhaps the most brilliant expression of it’s promise.

SPARKLE IN THE SAND-HEAP

The message that comes through The Go Betweens’ glisten is that this is no time to be disheartened. This is the time rather to grasp for the few grains of brilliance that still sparkle in the sand-heap. Be moved by Yello, confronted by Foetus and startled by The Go Betweens.

Back in the mists of history, this band were a slight prospect, too far in the shadow of their influences. Now they are an encapsulation of the maverick in the post-Velvets scheme of things. On record they reach for intangible strands of feeling and catch the fine cobwebs of melody, entrancing with light strokes of surrealism, catching the heart with their immaculate deceptions.

Live they’re a harder prospect altogether, a head-on emotive sweep that raises their art to the level of anthem. You could almost sing along.

SARTORIAL NOD TO THE BYRDS

They still wade through history but their influences are now more of a sparkle of amusement than an overwhelming weight. Robert Forster stands still with the style of David Byrne, Grant makes a sartorial nod to The Byrds (via the wardrobe of Mat Snow), while the Velvets and ‘Blonde On Blonde’ period Dylan swim through the strands of their sound. The current is strong enough to be innovative though.

Lindy Morrison’s fringe sweeps across her eyes as she lashes out a rhythm, the guitar and bass undulate in harmony, somewhere a voice says “It doesn’t have to be that way,” and a familiar but all too dimly remembered excitement wells up through their power.

The Go Betweens pull at the heartstrings in a manner you’d have thought was impossible in the aftermath of all those trite pop affairs. It’s all so simple – discard the dirt and look for the diamonds. Go for the Go Betweens. (Don Watson)

A Clash treat for their fans this, a five dollar ticket and a smaller setting than bands who’ve just appeared on the cover of Rolling Stone usually employ. In fact, a bonus, the Clash back in clubland in front of 700 people.

The band’s last American tour is a month dead and it’s hard at first to believe that the Clash are back in town. They’re here to film four songs for a new prime time nationwide comedy show, ‘Friday’. The show is a copy of a successful format on another network and painfully unfunny.

But prime time is prime time and the Clash are obviously determined to crack America on the double. Aside from filming and rehearsing the Clash decide to put on this show to keep them in performing shape.

The Roxy, for all its intimacy, is not the best place to see the Clash. Even with all the chairs and tables removed, the club preserves its air of record company glamour and soft rock money. And then there’s the audience, a few fans, a few punk diehards and the rest are poseurs, butterflies following the action wherever the action might be.

The LA Roxy is a long way from that other Roxy now long gone, where the Clash began. The music has changed and so has the audience and overall it’s just a well. The Clash have grown enormously as a band and their audience has increased as well, more as a result of the band’s survival than its growth.

But the very nature of the Clash’s beginnings and their absolutist claims and their urgency make it inevitable that they should always be judged by those beginnings, much as Townshend is always judged by ‘My Generation’. It’s the price they pay for committing themselves to a particular moment.

WANTON VIOLENCE

That’s why throughout this gig there’s a bunch over to one corner calling out for ‘White Riot’. Nothing kills like purist beginnings and these beginnings are popular with a certain section of the Clash’s audience in America simply because they seem to justify a certain kind of wanton violence.

The Clash are obviously aware of the dangers of being trapped by their past but either way they lose – either they betray their past or their past betrays them. To try and sidestep the whole dilemma, the Clash have begun to move into mythical territory, away from the moment and into the timeless and static area of rock and roll mythology.

That’s what ‘Brand New Cadillac’ and ‘Jimmy Jazz’ are all about, the Clash lecturing America on its own forgotten traditions. Tonight Strummer turns ‘Jimmy Jazz’ into Lenny Bruce and proceeds to deliver a lecture on the fate of that comedian who died persecuted of a heroin overdose.

The movement into the past is also a movement into an increasingly refined style, the snappy red shirts and braces, the new Clash sound in which the rhythm section leads, the heavy sound that’s full of subtlety but satisfies the headbangers as well. If they’re not careful, they’ll wind up with ‘Guns Of Brixton’ as their most popular song.

FAKE POPULISM

Strummer’s attempts to aid a roadie with a fainting fan somehow looks like fake populism in the context of this overfed Hollywood audience. It’s perhaps because of this that the Clash never really connect tonight. There’s an air of rehearsal about the whole affair and while the band run through a sampling of their career from ‘Janie Jones’ to ‘Clampdown’, you’ll find yourself waiting for the next song and for them to take off.

They save the day with their routine cavalry charge ending ‘Tommy Gun’ and ‘London Calling’ standing out with Topper Headon superb throughout but never quite seize the time. How could they with this kind of audience? And as anybody knows whose seen the Clash there’s a big difference between the Clash when they’re inspired and when they’re coasting (Mark Cooper)

THE JAM – “STRANGE TOWN” / “BUTTERFLY COLLECTOR” (POLYDOR POSP 34) MARCH 1979

The Jam were never strictly an albums band, often bridging the gap between their annual LPs with stray singles. Here, on top of a stomping Northern Soul beat and that clipped rhythm guitar style of Sixties Motown records.

Weller returned to a familiar theme: the ‘Strange Town’ in question represented his continued fascination with London.

Lyrical reference to A-Z Guide Books and Oxford Street and the city’s impersonal impenetrable nature. But it’s description of a visitor’s sense of alienation and anonymity – “I’m really a spaceman from those UFOs” – may also have reflected Weller’s experiences of being away from home while touring especially his dislike of America.

Both ‘Strange Town’ and it’s B-side ‘The Butterfly Collector’, were linked by one of Paul’s poems, reproduced on the rear sleeve. Weller’s interest in prose soon manifested itself as the first of many extra-musical ventures, a publishing company, Riot Stories.

The Jam must have been in their prime if Weller could afford to tuck away this mature classic away on a B-side. ‘The Butterfly Collector’ became one of The Jam’s most popular songs but maybe Weller felt unsure about issuing quieter, more contemplative tunes as A-sides. – at least, until ‘The Bitterest Pill’.

Based loosely on The Kinks ‘Shangri-La’, the song had a subtle, low-key atmosphere, particularly on the verses, which built to a rousing chorus. This only emphasised its vicious lyrical snipe at the rock groupie, inspired by a liaison with Sex Pistols cohort, Sue Catwoman.

Still grappling with the pressures of urban street life, Paul Weller has written a sharp song about trying to find your feet in an unfamiliar town – but the overall impact of the record isn’t as immediately strong as some of the group’s past hits. Quickly grows on you though.

The other side, ‘The Butterfly Collector’, is well worth checking out too. (Smash Hits)

RADIO, LIVE TRANSMISSION

It’s fair to say that most debut albums are one of two things: an outlet for blustering reserves of teenage angst, or else a resting place for a whole bunch of songs carefully knocked into shape through late adolescence. Issued in September 1984, ‘Dreamtime’ was neither.

Not only had the two constituent parts of the Cult‘s songwriting axis – Ian Astbury (vocals) and Billy Duffy (guitar) – vented much of the teenage bile via their stints with Southern Death Cult and Theatre Of Hate (respectively), but ‘Dreamtime’ was conceived while the Cult were making a quantum leap forward in terms of the quality of their compositions.

I had no idea the Hurrah! release existed until recently, I found details on Discogs after playing their early Kitchenware label singles. I wondered if I’d missed anything back in the eighties.

“Way Ahead” is a bootleg live recording of the band’s gig at the Embassy Club, London on the 19th April 1985. Sound quality is decent but not spectacular.

Probably recorded at the gig by a fan holding a tape recorder and using one of those awful sounding ferric cassettes. I hated those, everything sounded so muddy and dull. No top end.

It’s still an enjoyable listen though, hearing Hurrah! when they were still a vital but sadly ignored indie-jangle combo. They would soon sign to Arista and have some moderate success and release a couple of late eighties albums. I still have no idea what those long-players sound like.

“Around And Around” is a great number, what a shame they didn’t release this on a single when they were with Kitchenware. It’s a song that captures Hurrah! at their best. Scratchy, edgy guitars, harmonies and a pop beat.

The Beat Generation And The Angry Young Men was the first retrospective to acknowledge the impact of the Mod Revival and its knock-on effect in collecting circles.

Originally released in 1984, by Ed Piller on the Well Suspect label, many of the featured tracks were already demanding high pocket money prices (Directions, Small Hours, Long Tall Shorty) and these days far more.

This reissued digital deluxe edition revisits and revamps the original; losing two tunes but gaining five extra tasty maximum R&B numbers (from the Italian group, The Mads) recorded between 1979 and 82.

Best played loud, this compilation has influenced much of the indie-rock and Brit-Pop elite of the current generation of ‘angry young men’….and women.

Groups on this disc include: The Mads, The Directions, Long Tall Shorty, The Small Hours, Les Elite and The Purple Hearts.

Moving onto ‘Psychocandy’ by Jesus & Mary Chain, from the back end of 1985. It’s not a record I’m very familiar with but decided to buy a cheap CD last month.

If white noise, feedback, barely audible drenched vocals and shoegaze punk are your scene, well, you’re gonna dig this. One to play very loud and torment the neighbours into banging their heads against the wall and possibly ripping their own brains out of their skulls with a meat cleaver.

Some numbers on this have garage rock riffs and I enjoyed those better than the rest. The drums appear to have been treated in some way, maybe not even real drums?

All in all though, a fascinating collection of songs and ahead of their time in some ways. The Velvet Underground inspiration is certainly obvious, mix into that vessel of noise some Goth pounding and it comes out all candy for psychos.

Radio 1 Sessions is a compilation of studio recordings made for BBC Radio One by the pop punk band Generation X between 1977 and 1979. Three separate John Peel sessions are featured, along with a cover version of Johnny Kidd and the Pirates ‘Shakin’ All Over’, recorded for David Jensen’s early evening show.

This official 2002 release on Strange Fruit is quite a rarity nowadays and may command a decent price if offered for sale. Sound quality is superb.

Strawberry is a new Cherry Red imprint. Picking up where the mighty RPM Records have left off, Strawberry will shine a light on collectible 60s and 70s recordings, from themed compilations to single artist anthologies and occasional album reissues.

Halcyon Days is inspired by RPM’S bespoke compilations Looking Back, Keep Lookin’ and Night Comes Down. It charts the development of mod friendly beat music across three CDs.

From the jazzy R&B of Chris Farlowe, Duffy Power with Graham Bond and Zoot Money that opens disc one through horn laden Brit soul from Jimmy James, Geno Washington and The Richard Kent Style, ska from Mickey Finn & The Blue Men, girl group pop from The Chantelles and fuzz drenched freakbeat from The Pretty Things and The Worrying Kynde.

On disc three the influence of psychedelia becomes apparent on offerings by Jason Crest, July and Dantalian’s Chariot.

Bands featured include The Animals, The Yardbirds, The Kinks, The Pretty Things, The Creation, The Action, The Artwoods, John’s Children, The Spencer Davis Group, Brian Auger & The Trinity and The Fleur De Lys.

EARLY DAVID BOWIE AND ROD STEWART

There are early singles from future super stars David Bowie and Rod Stewart plus early recordings from Jimmy Page with Mickey Finn & The Blue Men and alongside Jeff Beck in The Yardbirds, Steve Howe in The In Crowd, Greg Lake in The Shame and Jack Bruce and Ginger Baker in The Graham Bond Quartet. Mick Fleetwood drums for The Bo Street Runners, future Deep Purple guitarist Ritchie Blackmore backs Heinz, his Purple bandmate Jon Lord is organist in The Artwoods, Rolling Stone Bill Wyman produces The End and Denny Laine later to join Paul McCartney in Wings sings with The Moody Blues.

Producer Mike Hurst opens his archives allowing us to include freakbeat nuggets from The Australian Playboys, The Human Instinct, The Favourite Sons, Double Feature and The Oscar Bicycle plus orchestrated pop gems from the soulful Truly Smith, psychedelic The Alan Bown!, Swedish mods The Tages and dramatic singing twins Paul & Barry Ryan.

First time on CD rarities include British R&B, soul and mod beat tracks from The Athenians, The Fingers, The Candy Dates, Barney J. Barnes & The Intro, Kevin ‘King’ Lear, Dorian Gray, Barry St. John, Ray French, Laris McLennon and Sleepy plus there are previously unissued recordings by The SW4, The Union and The Trendbender Band.

Includes a booklet with track by track annotation, crammed full of rare pictures including gig posters, sheet music and band photos.

THE MEMBERS – “THE SOUND OF THE SUBURBS” / “HANDLING THE BIG JETS” (VIRGIN VS 242) JANUARY 1979

The Members ‘Sound Of The Suburbs’ – Here’s a rip-roaring attack of teen punk angst with playful lyrics about outsider kids sitting in their darkened bedrooms playing punk rock electric guitars and mothers downstairs in the kitchen making Sunday dinner.

A quite brilliant observation, this happened so many times when I was a kid. Only swap noisy guitars for action packed Subbuteo matches. “Sound Of The Suburbs” is the New Wave answer to The Monkees’ “Pleasant Valley Sunday”

The single was a success and reached the Top 10 with appearances on Top Of The Pops and local TV Stations. It was also released on clear vinyl with a different sleeve. I also have a copy of the regular release. Both covers scanned and presented here.

“Handling The Big Jets” is a guitar heavy instro climaxing in rolling drums and percussion. (YPS)

DISAFFECTED URBAN YOUTH

Portrayed as the voice of disaffected urban youth, punk was just as influential and more shocking in the semi-detached arcadia of Middle England. The Members, from Surrey, got in their shout for the ‘burbs with their second single, their opening salvo for Virgin.

After an early gig, guitarist J.M. Carroll had declared, “We need a fucking anthem”, and this was the result. Like it’s Stiff predecessor ‘Solitary Confinement’, the single had a bawl-along chorus led by cheery frontman Nicky Tesco, and a serious point – the soul-lessness of suburbia, where Johnny sits upstairs in the dark of his bedroom playing punk rock electric guitar. (Mojo)

Worthy follow-up to the magnificent ‘Solitary Confinement’ (the best thing Stiff have ever put out). Another change of scenery and they’re still not happy and it suits them perfectly.

Gruff, misunderstood, lost, neglected, sardonic . . . . . like Graham Fellows jilted by life itself, laughing through gritted molars, very much the angry young modern man. (NME)

THE UNDERTONES – “GET OVER YOU” BW “REALLY REALLY” / “SHE CAN ONLY SAY NO” (SIRE SIR 4010) JANUARY 1979

The Undertones ‘Get Over You’ – Exhilarating punk number and follow-up to the acclaimed debut disc by The Undertones. It’s one of those sing-a-long broken romance songs and lyrically a throw back to the mid sixties Beat Era and especially the USA teen garage anthems where every kid on the Estate was a spotty loser in love.

Recorded at Eden Studios, London during December 1978 and released a month later. Reached a disappointing #57 in the Charts.

Back in ’79 I was too busy buying Panini football stickers. (YPS)

The Undertones second single ‘Get Over You’ was recorded in December 1978 at Eden Studios, Chiswick soon after the group signed with Sire.

Their first time in a ‘proper’ studio, the song was recorded live, with few overdubs. “We were a bit disappointed with the results,” recalls Damian O’Neill. “It was too soft.”

‘Get Over You’ had been written by John O’Neill in 1977, compacting the sorrows of a broken teenage romance into a two minute pop thunderbolt. (Mojo)

“We were very disappointed by the chart position. We thought it was all over and out career was finished. It was like, “What are we gonna do?”

Looking back, I think the song could have been better done. It was a bit too smooth.”

bassist Michael Bradley

GENERATION X – “KING ROCKER” / “GIMME SOME TRUTH” (CHRYSALIS CHSD 2261) JANUARY 1979

Generation X ‘King Rocker’ – From what I’ve read in magazines and online Generation X were very close to being dropped by their record Company and they needed a hit record. Enter the well written and executed number “King Rocker” which zoomed it’s way up the charts, almost hitting the top ten but stalling just outside at #11.

“King Rocker” has a commercial sound with elements of the stomping glam rockers from earlier in the decade combined with funny lyrics about an imagined fight between Elvis and John Lennon. Who would win?

Those were the days when the hype machine was in full swing and the single was released on various coloured vinyl with each band member having a front cover. My copy is guitarist Bob Andrews. The other side has a meaningful and energetic July 1977 live version of “Gimme Some Truth” originally recorded by John Lennon. (YPS)

Gen X, the first since ‘Ready, Steady, Go’, and an anxious treading of the ‘Willie And The Handjive’ framework. It threatens to recover its line of thought at intervals throughout but, sadly, is never more than encore material or a lively album track.

For me Gen X has never given any hope outside of the three singles (and Peel sessions), but I’ll always regard them as a serious outfit because of a sensation I can’t quite fathom.

This is strong, yet very normal rock. The reverse is a version of Lennon’s ‘Gimme Some Truth’ and is completely wrapped in turkey foil. (NME)

THE CLASH – “TOMMY GUN” / “1-2 CRUSH ON YOU” (CBS 6788) NOVEMBER 1978

The Clash ‘Tommy Gun’ – At the end of 1978 The Clash released “Tommy Gun” which steadily made it’s way up the chart eventually achieving a Top 20 entry. The number is a powerful punk rocker with a devastating and highly destructive opening salvo of guitars and machine gun rat-a-tat drums.

It would have been easy to go downhill after this fierce intro but this one never gives up right until the end.

Joe Strummer barks out his orders in the usual way “Tommy Gun you can be a hero in an age of none.”

Certainly one of my favourite Clash singles. (EXPO67)

Well I like it a lot more than I liked ‘White Man In Hammersmith Palais’, but I still think that the vocals let them down when the music is so brash and blinding.

They’re better to watch live because their aggressive approach to music is more immediate, but this isn’t a bad second best.

The staccato bleep they’ve run through this song is a lot like a section of a Vanilla Fudge song, but as I don’t suppose The Clash have ever bothered with Vanilla Fudge it’s not likely that they ripped it off.

I think I’ll have to live with it for a while before I decide to get really enthusiastic about it. It doesn’t strike right away. (Record Mirror)

THE BUZZCOCKS – ‘PROMISES’ / ‘LIPSTICK’ (UNITED ARTISTS UP 36471) NOV 1978

The Buzzcocks ‘Promises’ – One of the original punk bands forming in the Summer of 1976 when Devoto and Shelley decided to form their own group after witnessing a Sex Pistols gig.

‘Promises’ was The Buzzcocks sixth single and reached a decent number 20 in the UK charts. The flip ‘Lipstick’ is also good with a subtle ‘Shot By Both Sides’ (Magazine) guitar riff buried in the mix.

The pic and lyrics below are taken from one of my old Smash Hits magazines from November 1978. Probably rarer than the single which is easy to find. (EXPO67)

This lurks here because it was overlooked two weeks ago. Peter provides the only light relief on the airwaves. He’s nothing to do with Percy Shelley is he? Oh I wish they’d put it in two weeks ago. (Record Mirror)

IAN DURY & THE BLOCKHEADS – “HIT ME WITH YOUR RHYTHM STICK” / “THERE AIN’T HALF BEEN SOME CLEVER BASTARDS (STIFF BUY 38) NOVEMBER 1978

Ian Dury & the Blockheads “Hit Me With Your Rhythm Stick” – Possibly Ian Dury‘s most famous record, reaching #1 in Britain and timed just right for the Christmas period when records sold like hot cakes. A fully deserved and justified hit with it’s original sound combined with Dury’s unique spoken vocals. (YPS)

A million diaries rendered redundant in the twinkling of an eye! The Blockhead backlash does not start here. So we all know of the band’s chummy old pals act with the press but no dew-eyed, ‘alright mate?’, wacky lovable off-beat shenanigans can mask the stark truth that this record deserves no less than its full whack of the superlative stick.

It consists of geographical word wrangling over one of Chas Jankel’s finest funk backings, hi-hat sizzling on the beat and the Norman Watt-Roy bass bubbling like the business.

A couple of times it does seem that Dury isn’t too familiar with his own lyric, but all can be forgiven because of the middle break – a bivouac awash with African jazz percussion and cranky sax runs which can tend to overshadow the rest of the single on repeated play.

The ‘B’ side ‘There Ain’t Half Been Some Clever Bastards’ is the off-spring of ‘Billericay Dickie’ and ‘England’s Glory’.

On Van Gogh: “He didn’t paint the Mona Lisa, that was an Italian geezer…” (NME)

With progressive listens this single forces first impressions to the back of one’s subconscious. I honestly thought this Dury world tour on vinyl was the nadir of the guy’s output . . . at first. You will too.

Persevere, however, and become hooked on the ball-bustin’ bass riff. Dury’s command of the foreign patois, and the weird sax wailings of a thousand Arabian nights.

Reeks of character, but I still wouldn’t buy the bleeder. I’m off to reflect on the former glories of ‘boots And Panties’. (Record Mirror)

X-RAY SPEX – “GERM FREE ADOLESCENCE” / “AGE” (EMI INT 573) OCTOBER 1978

X-Ray Spex ‘Germ Free Adolescence’ – There are not many songs about the joys of teenage cleanliness but here’s one from X-Ray Spex. To get the girl of your dreams boys must scrub their bits and bobs, brush their teeth and scrub away, scrub away, scrub away. Well. that’s according to Poly Styrene and it also applies to girls too.

“Germ Free Adolescence” is a slow number with heavy use of synth, the usual sax and kind of spoken vocals over a bright and open soundscape, every word can be heard and the result is a charming piece of pop music which was commercial and strong enough to creep into the top 20. (EXPO67)

Synthetic sister with the thought problem straightens out. She gets un-weirded, her product keeps in line; this is unheard of X-Ray Spex. For instance it does not perform at the speed of sound . . . . the angle is SLOW DOWN.

A modern ballad meets Baba O’Reilly. Synthesisers meet mekkanik Shirley Bassey. Poly cracks and swallows and wades through, sticky but obsessive. Perhaps not a hit. But an attempt at changes – at this career point it’s vital. (Record Mirror)

In every dream home Listermint. This is the title track of the forthcoming album, a beautiful antiseptic love song, all deodorised libido with a little ‘Baba O’Reilly’ motif running throughout, a soul version of ‘For Your Pleasure’, though Poly agonises in the face of her perceptions whereas Ferry tended to wallow in his.

Poly’s a soul singer now, Veda Brown incarnate, she’s that good, with all the taste of theatrical melodrama that implies.

“He’s a germ free adolescent, cleanliness is her obsession.

Cleans her teeth ten times a day,

Scrub away, scrub away, scrub away,

The S.R. way.”

An emotive indictment on personal hygiene. Not backed with a cover of “The Martian Hop”. (NME)

THE UNDERTONES – “TEENAGE KICKS” EP (SIRE 4007) OCTOBER 1978

“Teenage Kicks” is arguably the greatest teen punk number of the 1970s. Not many people on Earth, unless you’re one of those urbane square types would fail to recognize the sheer power, adolescent frustration, two chord wonderment and anthemic joy of this greatness spinning on their turntable in 1978.

If The Undertones had bailed out after this release they would never have been forgotten. As it turned out they had numerous stirring numbers just bursting to be unleashed on the scene and soon became Chart regulars for years to come. (YPS)

These five well-rehearsed Ramones fans had won a Belfast Battle Of The Bands contest and done the rounds with their demos before approaching an indie label based in a Derry record shop.

The resulting messy, handmade 4-track Teenage Kicks EP found an instant champion in John Peel, who aired the title track nightly – sometimes twice.

John O’Neill’s urgent, two-guitar / two chord riff and Feargal Sharkey’s quavering, slightly desperate voice distilled all adolescence hope and frustration into a triumphant two-minute spurt. With the universality of a folk song, it chimed with anyone who had ever been young. (Mojo)

The Undertones are fronted by Steve Marriot’s grandson and sound like Ramones who’ve never heard of heroin. I’m sorry they’ve left Belfast label Good Vibrations for Sire because I thought they had a good future ahead of ’em (NME)

“This still sounds good. John wrote it. The Ramones were an inspiration – he wrote it in late ’77. The twin guitars make it – they still sound good. John Peel’s support surprised us. One night he played it twice in a row. I was working at the time in a builder’s merchants, and Peter Powell made it his Record Of The Week, which meant it got played at lunchtime. I was a bit embarrassed, actually. Perfect pop? We never really liked that term. Perfect pop was Abba.”

bassist, Michael Bradley

BLONDIE – “HANGING ON THE TELEPHONE” / “WILL ANYTHING HAPPEN?” (CHRYSALIS CHS-2266) OCTOBER 1978

Blondie “Hanging on the Telephone” is a song written by Jack Lee. The song was first performed by his short-lived US West Coast power pop band The Nerves; later in 1978, it was recorded and released as a single by the American rock band Blondie.

Blondie had discovered the song via a cassette tape compilation which Jeffrey Lee Pierce had given the band. Beginning with a phone sound-effect courtesy of producer Mike Chapman, Blondie’s version of the song was released on the band’s breakthrough third album, Parallel Lines. The single was a top five hit in the UK and has since seen critical acclaim as one of the band’s best songs. (wiki)

Blondie go from strength to strength. Debbie Harry, once the piece of meat looked at but never listened to, has drilled her voice into a tool of elegance and dirty power.

From one of the best pop albums for years, ‘Hanging On The Telephone’ is the most inevitable hit this week. (Record Mirror)

SHAM 69 – “HURRY UP, HARRY” / “NO ENTRY” (POLYDOR POSP 7) OCTOBER 1978

Sham 69 ‘Hurry Up Harry’ – I’ve checked my archives and it’s just over ten years since I featured Sham 69 on my defunct site so here goes with another entry, this time a record released a few days after my 14th birthday in October, 1978. I can remember it well back then, it was a popular punk singalong number which made the Top 10.

Who doesn’t like going “Dahn the pab” as Jimmy Pursey sang in his Cockney accent. Well, being a kid I hadn’t even been inside a pub back then but I did play darts and dominoes and they were featured on the front cover of the single so I knew of the delights to behold apart from drinking Real ale by the pint.

“Hurry Up, Harry” is a commercial punk tune with over the top vocals and fast and loud guitars. Good solid beat by the drummer and a sure fire hit in 1978. This is what the kids wanted. (EXPO67)

Sham 69 have come on no end in two years, from wearing swastikas and supporting The Count Bishops in front of an audience of six to fooling most of the people all of the time, and, in one fell swoop with this latest single, becoming the undisputed Kings Of Grumble-Rock.

‘Hurry-Up, Harry’ is surely the most atrocious record yet from a ‘name’ punk band. Everyone knows that Jimmy Pursey loses sleep over not being Joe Strummer and never being taken seriously by anyone other than skinheads, debutantes, the SWP and other assorted morons.

This is why he approximates The Clash’s warped vision of prole life as endless riots in tower blocks with his more acceptable, simplistic, simple-minded version. Going down the pub with the united kids with dirty faces. At 24, he’s still trying to kid the world he’s an under-age drinker smoking behind the bike sheds.

Never has a recorded voice sounded so cretinous, intoning a chorus of:

“Come On! Come On! Hurry up Harry, come on.

Come On! Come On! Hurry up Harry, come on.

We’re going down the pub,

We’re going down the pub.”

Never before has man expressed such ‘Love divine, All Loves Excelling’ joy about going down the pub with his mate.

Jimmy, you come from Surrey, but this is no excuse for your gross misinterpretation of the way the drinking-classes go about their business; you seem to have culled your impressions from Carry On films. Really, Jimmy, some of us even have inside lavatories these days. (NME)

As subtle as a sledgehammer, this should keep our spikey haired friends happy. Pursey’s gritty vocals are well suited to the song, and it’s particularly amusing when he sings “Urry Up, Arry”.

It’s a drinking man’s song, complete with pub piano, from a drinking man’s band. Time gentlemen, please . . (Record Mirror)

THE REZILLOS – “TOP OF THE POPS” / “20,000 REZILLOS UNDER THE SEA” (SIRE 4001) JULY 1978

The Rezillos ‘Top Of The Pops’– One of the undeniably great pop punk records of 1978, insanely catchy, on trend (Top Of The Pops was huge back then) and with ‘hit record’ stamped all over it.

This single version is a different cut than the one that appears on their album “Can’t Stand The Rezillos” and perhaps the best and definitive version. The Rezillos crashed and burned after the record splitting in two….. and then we had The Revillos. (EXPO67)

Slightly restrained sound from these mad, mad young Scots. Faye Fife’s screeching vocals have been smoothed out, while their live energy has been refined to create a single full of polished hooks and riffs.

Definitely too good for it ever to be heard on TOTP, but you never know. (Record Mirror)

SIOUXSIE & THE BANSHEES – “HONG KONG GARDEN” / “VOICES” (POLYDOR 2059 052) AUGUST 1978

I had been writing about my records on my now defunct blog since 2007 and covered Siouxsie & the Banshees a few times but not for the last nine years! So it’s about time I concentrated on their debut disc today.

The group were one of first punk rock outfits but were one of the last to get signed to a record deal. I’ve read that A&R men were too scared to go to Banshees gigs because they often erupted in violence and Siouxsie was something of a control freak and openly held the music industry in contempt.

This may explain why it took until the Summer of ’78 for their first single to come out on the Polydor label.

“Hong Kong Garden” is notable for John McKay’s oriental guitar motif which gives it that unique sound. Strong radio plays, exposure in the music press and an appearance on Top Of The Pops ensured that the record went Top 10. (YPS)

By Summer 1978, Siouxsie & the Banshees were punk’s most cultish heroes-in-waiting. Two extraordinary sessions for John Peel, several uncompromising interviews and a rash of ‘Sign The Banshees’ graffiti had whetted appetites to saturation point.

“A&R” men were too scared to come and see us because most of our shows erupted into violence.” recalls Steve Severin. “Then, out of the blue, we wrote Hong Kong Garden.”

After some abortive sessions with US soul producer Bruce Albertine, the song, uncharacteristically commercial and dominated by John McKay’s oriental guitar motif, was nailed with ice-cool clarity by rookie producer Steve Lillywhite.

Even stranger, the cries of ‘sell-out’ were muted; the Banshees juggled chart success with punk rock cred far longer than almost all their contemporaries. (Mojo)

A lot of people have been waiting a long time for this disc – waiting while the self-styled enfant terrible of the punk front line played cat and mouse with a music industry she openly regards with contempt and disdain.

But here it is, a brash, delirious two-chord triumph.

‘Hong Kong Garden’, a long time stage favourite, is a bright, vivid narrative, something like snapshots from the window of a speeding Japanese train, power-charged by the most original intoxicating guitar playing I’ve heard in a long long time.

Would you believe it’s going to played on Radio One? Would you believe Siouxsie & the Banshees on Top Of The Pops? Would you believe not one mention of Blon . . . . . oops. (NME)

Accessibility incarnated. I first heard this on a depressing Marquee Saturday about three months ago when the enterprising DJ slapped on the bootleg version and the insidiously cute Chinese riff burned itself on my mind indelibly.

I’ve now had the single in my grubby paws for thirty-six hours and I’m playing it every third record. I love every second – from John McKay’s flurried chording to Steven Severin’s pounding bass to Kenny Morris’s bruising drums to Siouxsie’s cockney intonations.

The first love song to a Chinese restaurant? (Record Mirror)

THE BUZZCOCKS – ‘EVER FALLEN IN LOVE (WITH SOMEONE YOU SHOULDN’T’VE)’ / ‘JUST LUST’ (UNITED ARTISTS UP 36455) SEPT 1978

Buzzcocks ‘Ever Fallen In Love’ – Back when I was a kid growing up in the late 70s there wasn’t much music on the radio for me to get excited about until I heard bands like The Sex Pistols, The Damned, The Adverts and The Clash etc.

Hell, I didn’t even know what punk was all about because it never got much publicity in the music press, on the television and definitely not the radio. Well not until the Pistols appeared on some live local TV show and started to say ‘fuck’ and ‘shit’. Almost overnight England became exciting again after 10 years of prog boredom.

One of my lasting memories was seeing The Buzzcocks on TOTP playing this song and I’ve loved it ever since. ‘Ever Fallen In Love’ got to number 12 in the charts, not that this meant much to me. I only knew that it’s popularity meant more plays on the radio and appearances on TV music shows.

Back then we had no video recorders or MTV or repeats so if you missed it you were fucked and couldn’t talk about it at school next day.

The flip ‘Just Lust’ is a typical 70s punk song with an uptempo rhythm and stupid lyrics. It has a pretty decent guitar break but it’s really just an average song. Not in the same league as the top side. (EXPO67)

I’ve really tried to like the Buzzcocks, ever since we spent a pleasant afternoon reviewing the singles together. I listened to this three times, in the hope some emotion would stir in my feeble brain.

But no. Their last single was a marginal success with me, but this is a regression to the old straight between the eyes manic wallop of the old days. In short, it’s a noise. (Record Mirror)

Radio, Live Transmission – “Who’d Have Thought” was arguably Hurrah!‘s last indie record before they got all sweetened up, ironed out and signed for Arista. They had other records associated with the Kitchenware label but by then I’d left them behind. So, this was the last Hurrah! single I ever bought, released October 1984.

Surging jangle pop and earnest vocals make this an enjoyable experience and warrants it’s ‘transmission’ status. There’s a low budget promo video on YouTube showing the boys roaring through a performance of this song. They’re filmed on top of the Gateshead multi-story car park made famous as a location in the film “Get Carter”.

The Bluebells are back again with one of their big hits, just failed to drift into the Top 10. I must be honest, I can’t remember “I’m Falling” from back in the day, released February 1984. They’re clearly going for the hits because this is a wimpy pop ballad, absolutely no edge and sounding like Aztec Camera. The drums have been enhanced in the studio making them way too loud in the mix, it’s almost impossible for me to listen to this more than a few times.

Basic post-punk numbers from The Fire Engines, both sides have a style of their own and must have sounded without comparison back in mid 1981 when the single came out to general indifference.

John Peel raved about the group so new admirers would have been quick to jump aboard the fire engine, teenage magazine ‘Smash Hits’ also gave this disc some column inches.

My pick for inclusion on my next Mixcloud transmission is the experimental flip “Meat Whiplash” (all Fire Engines song were experimental, you say)

Both sides of the Jesus and Mary Chain single are genius, it’s as simple as that! This is full on stereophonic noise and a beautiful sound it is. Everything so wrong about commercial eighties pop for the masses was so right with this record. One to play the squares at lunchtime when they’re nibbling on their cucumber sandwiches and talking about their latest selfie photo.

“Vegetable Man” is an inspired cover version assault of the intense Pink Floyd number, it was so deranged that EMI rejected it as a possible follow-up to “See Emily Play” (B-side status). The label executives probably came to the conclusion that writer Syd Barrett had been seriously damaged by acid.

The JAMC version has everything perfectly intact. Noise. Distortion. Fuzztone. Feedback. Darkness. Disturbed mind. Insane and certainly unhinged individual. This is Syd I’m talking about and Jesus and Mary Chain convey his song flawlessly. It loses nothing of the original. Released November 1984.

“In my paisley shirt, I look a jerk.”

“Sorry For Laughing” / “Revelation” was only released in Belgium, it was their first single for Les Disques Du Crépuscule and proved to be a moderate hit in the Indie chart. Quite an achievement for an import record at the time.

“Revelation” is probably my favourite Josef K number. It’s a frantic affair of spiky guitar and subtle feedback. This frenzy continues throughout the song, there is also elements of twang! Can that be possible? I love it, great record.

There is also a Postcard Records logo of the drumming cat on the label. Shame this wasn’t released on the latter. An early post punk record too, released February 1981.

Ah, Derek & Clive, this is hilarious. Just a couple of cunts (their words) with a joke punk song. Taking the piss out of The Sex Pistols and others, pronouncing of words, lyrics etc.
In Cockney it sounds like ‘cants’ just a couple of cants.

Radio, Live Transmission – In my mid teens I was quick off the blocks to get into the early indie guitar bands, mostly because almost everything else didn’t thrill me and this was before I’d discovered 60s garage.
Anyway, Hurrah! came from my local City of Newcastle so I was clearly interested especially after reading a review of the record in one of the music weeklies (could have been either Sounds, NME or Melody Maker).

Even after all of these years ‘The Sun Shines Here’ still has a certain charm with it’s edgy jangling guitar and sparse production. Clearly influenced by Postcard Record label groups, especially Orange Juice, this of course became the template for most of the English indie guitar bands that followed. This record was released in April 1982 so it’s one of the first of the genre.

I remember seeing them perform live at a local Night Club in Sunderland (probably 1983) and talked to singer/guitarist David Hughes about 60s stuff. At that time he sported a mental haircut with a fringe some two inches away from his eyebrows. It was one of those psychiatric hospital inmate cuts.

“Woke up to the smell of fresh cut grass,
The jangling guitars in my ears”….

Next up is the Revolving Paint Dream. I can still remember buying this record from a shop in Sunderland. I probably bought it during the week it was released, which according to information from an online source was 25th February 1984.

Only 1000 were produced and is rare and sought after. It featured Andrew Innes who went onto Primal Scream, Christine Wanless and the Jasmine Minks’ Dave Musker on keyboards. The wraparound picture sleeve was printed by Bobby Gillespie also later to be in Primal Scream and the sleeves were folded by Alan McGhee himself as was typical of all the first twenty ‘Creation’ 7″ releases.

‘Flowers In The Sky’ is a frenzy of guitar feedback and distortion. It’s certainly psychedelic and this sound was ahead of it’s time especially in England. The Rain Parade and The Dream Syndicate were experimenting with this kind of psych in USA around about the same time I suppose but I’d heard nothing like it in my country.

“The grass is green in the fields for you

The grass is green in the fields

Its red and green, its orange and blue

The grasses are there for you (cause I love you)”

The flip ‘In The Afternoon’ is more of the same trippy psychedelia. It could almost be an extension of the top side but this time the vocals are female. One for the shoegazers.

Next up, Altered Images with their “Dead Pop Stars” single from the start of 1981. They’re also another group from Scotland, my ‘Transmissions’ are becoming powerful examples of just how much talent and variety of sounds coming out of Glasgow and Edinburgh especially.

Glasgow group Altered Images had some success in Britain during the early 80s with their quirky pop singles. Their debut disc is a worthy effort of post punk indie darkness. “Dead Pop Stars” has great appeal although didn’t sell, probably way too un-commercial for the Charts to start with.

Factor into this mix the horrific murder of Beatle, John Lennon two months before the record was released and you’ve got something which is a little bit too much for the open mourning wounds and masses to deal with.

There’s a definite Siouxsie & the Banshees feel to this number, mostly in the rhythms of the drum patterns. Closer inspection of the label reveals that Siouxsie guitarist Steve Severin was the producer. After this record the group chose much more commercial material and with radio friendly appeal the mainstream beckoned.

Next up is an excellent double ‘A’ side from Southern Death Cult. “Fatman” starts like the Shadows on overdrive, gains pace into a helter skelter of lead guitar and bass, before cannon fire drumming leads into the verse.

Superbly sung and played, and powerful enough to wake the dead. “Moya” is equally excellent, too. Full credit to the dense production, courtesy of Mick Glossop. An auspicious vinyl debut and a shame that this was their one and only offering.

I would never have imagined I’d ever feel compelled to buy a Simple Minds record. Back in the early eighties when they had that huge hit “Don’t You (Forget About Me)” this group were the epitome of everything I disliked about trendy groups. Stupid haircuts, neat and impossibly over-sized square clothes, gated drums, commercial appeal to the masses. No way man, not my bag at all in ’85.

This month I read a book called “Simply Thrilled”, an account of the legendary Scottish independent record label ‘Postcard Records’. Simple Minds were mentioned a couple of times and it stirred my interest. I then saw the picture cover of their 1979 no hit wonder “Chelsea Girl” and decided to invest.

The cover is a painting of ’60s model Jean Shrimpton, and according to an online source, Jim Kerr saw the picture hanging on the wall in the Office of Arista lawyer, Robert White. He insisted that the picture should be used for the cover of “Chelsea Girl.”

I actually like both sides of this single. “Chelsea Girl” is clever and arty and sounds like a new wave Roxy Music meets Magazine. They had high hopes of a chart hit but nothing happened. Nice organ touches and guitar solo.

The B-side “Garden Of Hate” is much more interesting, adventurous, dark and moody. Based on these two songs I’ve decided that Simple Minds are worthy of my continued interest.

Adam & the Ants, you may ask? This single was a recent freebie within an order of other records. I’ve never bought an Ants disc, they were never my scene back in the early eighties. I was always put off by their lousy image, especially Adam’s.

Coming on strong wearing Johnny Kidd’s old pirate gear, big boots, painted side-burns and a Red Indian battle stripe across his face, Adam was a flamboyant poser. I could never take him seriously, then Adam & the Ants hit the big time with singles after this one from early 1980.

“Dog Eat Dog” is better than I ever imagined, the group build up a heavy beat with those warrior battle drums. These are drums played by human hands, there is no funny business going on in the studio adding that awful gated effect. So, already, the music is catching my ear.

Controlled ‘spaghetti western’ guitar frenzy and bass rumble adding to the powerful beat. I can’t help but think of those early Hoodoo Gurus numbers from “Stoneage Romeos” . . . . . a remarkable similarity. Good vocals from the soon to be pop icon (at least for a few years).

The B-side is another powerful number, heavy metal beat, loud and dangerous. Adam singing like Iggy Pop. Impressive double sider.

SOUTHERN DEATH CULT – FATMAN

RELEASED DECEMBER 1982

Now we leave the studio and go over straight away to our Record Mirror correspondent: Southern Death Cult “Fatman” (Situation 2). Just as the ‘new pop’ finds itself drowning in over production and under ambition, the reaction, the reassertion of power and emotion begins.

Southern Death Cult take basic rock elements and infuse them with the feel and touch of those who have rejected rock’s arrogance and pomposity. The sound for ’83 is raw and open. Southern Death Cult are showing the way . . . . . and now over to that wonderful old paper Melody Maker.

Southern Death Cult “Fatman” / “Moya” (Situation 2). Hold the front page! A white label copy of this has just arrived, and about time too. A lot of people have been waiting for this, the first Cult single, and it’s no disappointment.

A double ‘A’ side, “Fatman” starts like the Shadows on overdrive, gains pace into a helter skelter of lead guitar and bass, before cannon fire drumming leads into the verse. Superbly sung and played, and powerful enough to wake the dead. “Moya” is equally excellent, too.

Full credit to the dense production, courtesy of Mick Glossop. Joint single of the week, without a doubt. and an auspicious vinyl debut from what will probably be THEE group to break through big in 1983 . . . . .

And of course this report wouldn’t be complete without hearing from our correspondent on the super cynical but hip NME. But hey, listen, what’s that scene? It’s the new thing going down, it’s Southern Death Cult: “Fatman” (Situation 2)

We’re told that SDC are definite signs of life, an escape valve from the usual punky morass, and their debut single is certainly a taste of something a lot stronger that we’ve been used to in this field. It’s manic Echo & the Bunnymen, it has the most brilliant rock drumming in yonks, the guitar spits pure spleen and the whole thing reeks malice and havoc.

Not exactly my sort of thing, but I can still appreciate its edge and commitment.

PUBLISHED IN NME, 10/12/83

Looking back is all the rage these days isn’t it? Take Death Cult – not only are they one of the most powerful current bands, they are also THEE most powerful current band. Why then do they resolutely try and live up to the old Southern Death Cult-kult image?

Whipping through such frantic exhibitions of power as “Ghost Dance”, “Christians” and “Spiritwalker” they are already better than the defunkt southerners ever were, so why the clinging to their shadow? Leaping across the stage, launching powerful guitar stutters over wave over wave of drums, they’ve already won their audience but they can’t expect them to do anything more than adore them.

THE KIDS OF COCA COLA NATION

They’re abundantly talented yet irritatingly indecisive, and they’re aggressively loud when really they need only be aggressive AND loud. They’re trying too hard to do too much too soon.

They may be the best but we can do without the “Wake up and shut up you fucking little twats!”, and “Let’s face it, I couldn’t give a shit, we play for ourselves.”

C’mon Death Cult. The kids of Coca Cola nation deserve more than this.

Orange Juice ‘The Glasgow School’ – My love-fest with Orange Juice continues on ‘Yellow Paper Suns’ with this immaculate CD of their Postcard label recordings 1980/81, including every single side, album cuts that eventually saw a release on Polydor, a throw-away number recorded for a John Peel Radio One session and a long-forgotten Nu-Sonics number, a previously unreleased rehearsal take from 1979.

All your favourites are here, sound reproduction for the CD release is sonically pleasing, with delightfully annotated liner notes and information of every song from Orange Juice drummer Steven Daly. What’s not to like? And all for the princely sum of £5.

There are many highlights here, most are playfully engrossing, several absorbing my complete attention. From the rather ineptly recorded and produced first single “Falling And Laughing” to the graceful and beautifully jangly “Dying Day”.

It’s fascinating to witness their progress from unknown Glaswegian floppy haired indie guitar darlings to a floppy haired professional outfit destined to have some hit records and fame after appearing on “Top Of The Pops.”

Here’s what Steven Daly had to say about “Dying Day”

“A jangle-istic opus that reveals Orange Juice’s heartiest embrace of ’60s folk-rock influence. The way that Edwyn sneered the line “Say hello to your debu-tante” was a nod to a mid ’60s Bob Dylan; Blonde On Blonde was probably the one record that the faddish Alan Horne would always keep on his playlist in the small and spartan bedroom from which he ran his Postcard Records empire.”

My knowledge of Death Cult is virtually nothing other than I know they changed their name in 1984 to simply The Cult. I know quite a bit about the Cult having bought most of their records, including the album “Love” at the time they were released.

I’d never previously heard any recordings by Death Cult so thought I’d put that right by buying the CD collection “Ghost Dance” which captures everything the band recorded in 1983. What was I about to discover? Would I enjoy the material as much as “Spiritwalker” or “She Sells Sanctuary”, I’m afraid the answer is a resounding NO.

GHOST DANCE

All of the material is ruined by over-produced drums, this was that dreaded eighties disease of gated-drums or some other tomfoolery by the producer in the studio.

So many bands in the eighties had their music destroyed by this unnecessary caper, if only someone could go back to the mixing desk with the master-tapes and ‘un-gate’ the drums or whatever stereophonic gibberish these producer types were practicing.

Ian Astbury’s vocals are annoying, it seems that on all of this Death Cult material he shouts and screams like an injured Cheyenne warrior at the Battle of Little Bighorn.

Billy Duffy’s guitar tones sound fabulous though, he clearly demonstrates that he was destined for something much tougher than the indie goth rock he’s playing here. His metal-blues / hard rock style of play changed the Cult’s sound for instance after their ‘psychedelic’ period.

The best number here is the soothing, acoustic heavy, drum free ballad “A Flower In The Desert” which was re-recorded and released as the B-side of “Spiritwalker” in May 1984. The song is presented here from a Radio One session they did for the Kid Jensen Show, recorded 16th October 1983.

JOSEF K – RADIO DRILL TIME

RELEASED AUGUST 1980

Pictured are Josef K, a band currently the subject of much interest due to their very fine “Radio Drill Time” single on Postcard.

An Edinburgh band, the four members have known each other since their schooldays. Hesitant talkers, they find it difficult to discuss their music, which is written mostly by Paul with some music co-written by Malcolm.

Lyrically enigmatic and introvert, it’s song based and descended from American new wave like Television and Talking Heads rather than British punk. Comparisons with Joy Division have also been aired, though rather inaccurately.

The band take their name from a character in a Kafka novel called “The Trial” where an unsuspecting man is suddenly hauled before the authorities on a charge that is never specified.

“It really fits what we do,” offers Malcolm, “I think you can see similarities.”

Josef K’s music, it seems, is instinctive (“whatever comes out”), trying to communicate their feelings, to move people emotionally. “Radio Drill Time” itself, according to Paul, is about the message conveyed through songs and the feelings aroused, “which can be used, either harmfully or to good effect.” (Smash Hits, 02/10/80)

I’m unschooled in Josef K but I’m learning fast. “Radio Drill Time” from the start of 1980 is notable for jagged guitar strum, almost casually played drums and spacious production, very much lo-fi and heralds the new independent sound of young Scotland.

What is that electro synth noise occasionally interrupting the bass heavy din?

The song was inspired by the sleeve notes of Lou Reed’s “Metal Machine Music.”

The other side “Crazy To Exist” was seemingly recorded live in someone’s living room! The fast opening chords of the spiky guitar made me think I was playing the disc at the wrong speed but then I thought, hold on, I’m playing this at 45rpm.

There will be more Josef K records under the spotlight in future “Transmissions” because I’m very intrigued by their artistic approach. (Yellow Paper Suns)

AZTEC CAMERA – JUST LIKE GOLD

RELEASED MARCH 1981

Aztec Camera ‘Just Like Gold – The second Postcard release during March 1981 is “Just Like Gold” from East Kilbride’s Aztec Camera. An amazingly mature debut from a sixteen year old writer, this urgent, personal message has an attractive folksy, almost American feel to it thanks to the addition of shimmering acoustic guitars.

Only a rather untogether arrangement stands between this strong song and sheer excellence, and the same fault reduces “B” side “We Could Send Letters” to a one dimensional canter. A worthy purchase, however. (Smash Hits, 02/04/81)

The young teen Roddy is back with a pairing of love-lorn ballads, earlier versions too, with the original line-up of Aztec Camera. I prefer these recordings on Postcard rather than the embellished and cleaner numbers on the album “High Land, Hard Rain”

So, get out in the wild and find an original copy, it’s probably the best thing you could ever do, your record box deserves it.

Both sides recorded at Castle Sound Studio, Edinburgh, during January 1981.

Speaking in NME, Roddy expressed great pride in his choice of debut single. “I don’t think I could improve “Just Like Gold” in any way. I spent a long time trying to sound un-clichéd. There’s no chorus in it, nothing’s repeated.” (Yellow Paper Suns)

PUBLISHED IN SOUNDS, 25/05/85

Dressed down to match the self-deprecating charm of Hurrah!, the audience were an accurate mirror of the current discerning cult pop crowd-pleasers themselves.

The occasion was one of subtle pressures and restrained approval; Hurrah! are not a group to go wild for, nor do they suggest anything but the inspired melodic genius they embrace wholeheartedly.

It is clear where a group like Hurrah! live; it’s a robust but tempered suburb of jangling, resonant guitar that is harmonically perfected to blend with choruses that must be as hard to rehearse as they are affecting to feel.

What amazes me is that a group that sports its influences reproduces them with ingenuity and embryonic grace to satisfy the most demanding connoisseur and rivet a new generation of souls. Hurrah! are a thoroughly contemporary reality.

Hurrah! are believable because they love what they do for its own sake; any statement of intent is superfluous, here is a group that has power without aggression and a sober self-respect to propel their cogent pop argument into the mind and heart.

Hurrah! are as good as their American peers, better somehow because they don’t have the travail and trumpery that the latter are usually fraught with. (Ralph Traitor)

ORANGE JUICE – POOR OLD SOUL

RELEASED MARCH 1981

More Orange Juice please! Up next “Poor Old Soul”, a bouncy pop number with rather basic drumming, this could have been so much better with a lot more imagination on the skins.

My copy didn’t come with the postcard insert with handwritten lyrics and cat cartoon designed by Edwyn Collins. So thanks a lot, to the bastard who swiped it, then sold the record. I hope the Postcard cat logo comes to life and batters your face with it’s drum-sticks. Do I hold a grudge? . . . . . . Yes! (Yellow Paper Suns)

. . “No more rock and roll for you” . .

Two new singles have seen the light of day from Glasgow’s excellent Postcard Records. First up is Orange Juice’s “Poor Old Soul” and really good it is too. Powered along by an energetic rhythm, it’s a very cleverly constructed song with a great melody well handled by Edwyn Collins’ distinctive quavery vocals.

It also boasts a well judged arrangement which shows up the best of the song while sensibly shunting the band’s amateurish side well to the rear. The ‘B’ side offers another version of the same song. Miles ahead of their last two releases and well worth anybody’s money. (Smash Hits, 02/04/81)

The Orange Juice aesthetic eluded all of the music press’ pre-existing categories, so admiring reviewers started to describe the band as the new incarnation of the ‘perfect pop’ ideal.

While we were happy to receive such heady acclaim, we also appreciated that we could not long avoid backing up the ‘pop’ part of our reputation with actual popularity. On the opening lines of “Poor Old Soul,” self-confidence surges through Edwyn, a flawed yet cocksure indie-crooner who saunters forth with a message both urgent and eloquent:

“Back with a vengeance, much in vogue / The harlequin, the rogue / Defending the meek / His tongue tucked firmly in his cheek.”

The single itself was still a little too raw for the radio programmers of the time.

“Poor Old Soul” (Part Two): We wanted to offer another, more aggressive take on this song; if I recall correctly, Edwyn and David swapped instruments for this second version.

Halfway through the track there is a chant of “no more rock ‘n’ roll for you.” Subway Sect had an early song called “We Oppose All Rock and Roll,” a title that summed up fairly well the ideals of early punk. (Steven Daly, 2005)

PUBLISHED IN NME – 03/12/83

If ye Smythes are anything to go by, rock’s set-piece quartet of voice and guitar, bass and drums is making a decided comeback.

Witnessing R.E.M.’s astonishing performance at The Marquee last week, it seemed to me about time too. There were more possibilities, more trails and extensions pushed out by this music than a dozen New Orders have conjured.

I initially saw this group, this Radical Electric Magic, 18 months ago in their own locale of Atlanta, Georgia, but I guess I was too drunk to take in just how much was being proposed, how many of rock’s assumptions shaken down.

From a casual, idle exposure to their recorded works (the EP “Chronic Town” and this year’s “Murmur” album), you would not be slandering R.E.M. by describing them as Byrdsy with a strong Undertone of ’60s power pop. The form is deceptive: from a nexus of close, course chording

Mat Snow has already rooted them in a couple of Byrds blueprints – they spin a web of hooks and harmonies that so radically reshuffle the standard issue blocks of rock you feel you’re at the onset of a new musical dimension. Quite possibly you are.

Michael Stipe will set off a harmonic chain – picked up by bassist Mike Mills and rounded off by drummer Bill Berry – that moves with such flowing assurance it’s like a single organic voice.

These are figures whose shape and dynamic are things quite other than the small mercies rock has formally yielded. I won’t try and capture such a magnificent metamorphosis here; I’m still not certain it wasn’t a dream.

I expected to find the curly-mopped, dressed-down, student-bespectacled Stipe irritating, but I found him superb and not a little mysterious. He does not sing words, he siphons them – liquidises language. The three other instruments (for Stipe’s is no mortal “voice”) are untreated and perfectly interwoven.

Clowning country ‘n’ western Weller Peter Buck is always doing more than shoving in the meat of a melody; whether slashing the ‘ol Rickenbacker like Townshend or being slashed by it like McGuinn, he shapes a different texture for each break and bridge, each twist and turn of these gyrating ‘Perfect Circle’s.

Then all of a sudden Mills will be playing guitar on his bass; Berry’s drums will be talking. There were moments in “9-9” when my heart stopped dead with wonder.

R.E.M. encored with the freeform solar jangle of “Radio Free Europe”. Later, somewhere in Soho, I found myself dazed and reborn. This is the most vital American group of today. (Barney Hoskyns)

TRANSMISSION #03

RADIO, LIVE TRANSMISSION #03

imaginery track-list
SIOUXSIE & the BANSHEES – “Dear Prudence” (Polydor) 1983
AZTEC CAMERA – “Just Like Gold” (Postcard) 1981
FIRE ENGINES – “Get Up And Use Me” (Codex Communications) 1980
TEARDROP EXPLODES – “Passionate Friend” (Mercury) 1981
ORANGE JUICE – “Poor Old Soul” (Postcard) 1981
CHINA CRISIS – “Christian” (Virgin) 1982

This 45, released September 1983, was an unexpected foray into psychedelia by a band more associated with the ’70s punk rock scene in England, but by ’83 they had developed a more complex sound and had undergone a few personnel changes.

One such change was the introduction of Robert Smith from The Cure on lead guitar. He took over duties from John McGeoch and persuaded the band to record The Beatles classic ‘Dear Prudence’.

The Siouxsie and the Banshees version is a much quicker assault with Robert Smith’s guitar to the fore. During this period he was solely using a Vox Teardrop Mark VI. Producer Mike Hodges also uses the technique of phasing or ‘skying’ as it’s sometimes known to create that otherworldly soundscape.

I remember their performance on “Top Of The Pops”, I’m presuming this appearance would have been sometime during October 1983, and on a Thursday evening.
Afterwards, a nineteen year old me, would have swallowed a couple of ‘black bombers‘, then jumped on the bus travelling into Sunderland to meet the lads.

The acoustically charged and the almost shouted vocals of “Just Like Gold” was a strange choice for an ‘A’ side and has never been re-issued in any format, nor too the 45 version of “We Can Send Letters”

Roddy Frame has refused in the past. So, get out in the wild and find an original copy, it’s probably the best thing you could ever do, your record box deserves it.

Both sides recorded at Castle Sound Studio, Edinburgh, during January 1981. Speaking in NME, Roddy expressed great pride in his choice of debut single. “I don’t think I could improve “Just Like Gold” in any way. I spent a long time trying to sound un-clichéd. There’s no chorus in it, nothing’s repeated.”

AZTEC CAMERA – JUST LIKE GOLD

The antithesis of what was about to happen in the eighties is encapsulated within the grooves of this slab of ear piercing noise from the Fire Engines. This is a prime example of post-punk DIY record production.

They recorded an entire set in a bungalow in Fife. Total cost was apparently £46. That was about the cost of one of Simon Le Bon’s posh tins of Elnett hairspray. Two tracks were then chosen to create their debut single.

“Get Up And Use Me” is full of chaos, no particular melody to talk about, and is an unruly assault on the senses which will annoy, and is meant to. It’s also a record that could have been released on Postcard, Alan Horne wanted to sign them but they probably told him to clear off back to 185 West Princes Street.

The other side, “Everything’s Roses” is another tuneless antidote to that awful new romantic bollocks. The lead guitar is all over the place but it’s got a ton of power, the singer, David Henderson sounds like he’s very hungry and shouting for his dinner, this is about as anti-pop as it got in 1980.

The Teardrop Explodes were seemingly always in the music press, they were hyped to the max and

in Julian Cope had someone who could be articulate, scathing but oh so very lovable and quirky. He was also heavily into UK 60s psychedelia and mid sixties garage from America.

“Passionate Friend” is radio friendly pop with memorable bubblegum style ‘bah, bah, bah, bah’s, not heard since the 1910 Fruitgum Company and the Ohio Express. A sure fire hit right? Only just, it scraped into the top thirty, but earned the group a Top Of The Pops performance.

“Christ versus Warhol” is unique strangeness and experimentation on the other side, not sure what the hell is going on here? Is it a shoot-out between Jesus and Andy Warhol.

The words are hard to decipher but I think Julian Cope is going on about these two artistic wonders of the world, one skilled and quick fingered with a bag of bread, the other with a pot of acrylic paint.

More Orange Juice please! Up next “Poor Old Soul”, a bouncy pop number with rather basic drumming, this could have been so much better with a lot more imagination on the skins.

. . . . . . “No more rock and roll for you” . . . . . .

ORANGE JUICE – POOR OLD SOUL

Ah, “Christian” by China Crisis. The short period in the early eighties when British boys went all foppish and dreamy. I was slowly ambling up that garden path myself, if truth be told.

I bought this single back in 1982 when it came out and I must be slowly but surely re-programming my mind and ears after decades of brutal garage punk because this is a fine dream-pop number.

I never thought I’d say that again, especially with something with a predominate synth beat. But it’s subtle and melodic and brings with it a reflective and haunting atmosphere.

Very well done to China Crisis, a simple song with a wonderful arrangement. Maybe it wouldn’t have been so bad in the 80s being all twee and sweet.

FROM SOUNDS, 25TH MAY 1985

If you’re going to understand this at all, take my hand and we’ll tango through the Time Tunnel. You know you want to. Just relax and step into a sixties warp. Oh sure, I know you’ve done a lot lately. But see, some of what you read here may sound spooky, and you may find your lips curling back in a stupid sort of smile.

You might hear yourself snicker, although I warned you. Then, before you know what the heck is happening, you’re cringing back from a blood-gutted scream that’s gouging huge holes in your ears. And it’s coming from those very same lips you laughed with.

Let me present the Fuzztones. Psycho-rock and counting. Doors, Seeds, voodoo beads. New York punk (and you do know about that – the Cramps, the Fleshtones, Our Daughter’s Wedding) dating R&B junk.

Hailing from the hinterlands of Harrisburg, Pennsylvania, the badlands that lie outside of American small-town wholesomeness, Rudi Protrudi (who tries to at every live show and is lead vocalist in more ways than one) and Deb O’Nair (Vox Jaguar organ) have minds which formed only a mile from the giant Harrisburg nuclear reactor.

They tell me they left just before the place started leaking invisible death through the air in a well hushed-up accident some years ago. They need to talk about it.

“At the time I lived there, the reactor had no guards, no fence. I used to ride my bike around it.” Rudi looks at me without blinking through heavy-lidded eyes. “The bass player from Tina Peel, our previous band, began getting huge lumps growing all over his arms, had to get them repeatedly cut out. Now he has cancer.”

Deb butts in. “I also recently heard rumours that all the flies in the town have died. Yet people pretend it’s not happening. They go on with their lives.”

“Don’t worry about a thing, every little thing’s gonna be all right…” Bob Marley croons glibly in the background. The Fuzztones eyes glitter.

BONES AROUND THEIR NECKS

We’re a strange sight tonight. The five five band members are in black leather, with heavy black, almost Beatle-esque mops (except for Deb, who has thick, white-blonde hair down her back). They have bones around their necks. Large, irregular shaped ones.

And, while the three New Yorkers – Michael ‘Brontosaurus Bass’ Jay, drummer Ira ‘The Magnet’ (because of his effect on girls) Elliot and Elan Portnoy (rhythm guitar) – observe and quip. Rudi and Deb fight it out for the role of main man, and try not to get too intense.

They’re the ones who set up the band five years ago, and it looks like, for both of them, the music is a release for pent-up obsession. If black ivy fastening fly agaric and woody nightshade to your brain, and you can’t afford therapy, do it yourself.

The “ARRAY” of creatures”, as they like to call themselves, sitting together before me have been this way for two years. While Rudi has played professionally since 1967. Deb joined him seven years ago to form Tina Peel (get the joke?), a bubblegum punk band, if you can comprehend that, in hometown Harrisburg.

“We were the most hated band in America,” brags Rudi, “because we were sarcastic, but we were cute. We reacted to the Sex Pistols thing by looking like the Archies in pop art, singing punk beat with a surf edge.

Songs? “Fifi Goes Pop”, about a poodle in a microwave, and “Penis Between Us”, and “There’s A Boy In That Bag”, about homosexual murders in Texas.”

Michael and Elan meanwhile, were playing together with The Monitors, an ‘”improvisatory British R&B styled band.” With influences such as the Troggs, the Who, the Kinks and the Pretty Things, they couldn’t locate a vocalist who cared in late-Seventies New York.

PSYCHEDELIC WEEKEND

A decision to visit the Psychedelic Weekend show where the ‘Tones were playing changed things. Michael’s eyes try not to bulge at the memory.
“It was a really wild show.”

Rudi laconically fills in. “Topless dancers were painted entirely in day-glo psychedelic shades. I painted some of ’em.”

So Michael and Elan changed gear, applied and Fuzzed up.

Deb: “And now Mickey plays Bronto bass – that’s big, and loud, and primitive. And Ira is primal throb.” She drawls out the word, lingering with it. “Feel it throbbing and pulsing within your inner self. The earliest feelings of mankind. Think of it. Ripping animals apart.”

Rudi: “While they’re alive. And then sucking the meat off their bones until all you have left is a nice little necklace.”

We stare at each other across the table. I thought you wore human bones? More chuckling and secretive American smiling.

Rudi: These I’m wearing now aren’t. I have had most of my human bones stolen from me, and it’s so hard to get replacements.”
Where do you get them?
“That,” (smirk, smirk) “I will not tell you.”
But I’d like to know.
“I’m sorry.”

Debs tells me how she’s wary of bleaching – let’s say ‘found’ – bones since she got bleach vapours in her throat a while back, and made it bleed. “And snake skulls are pretty fragile to work with. But dogs and cats are easy, and human bones, too.”

Tell me about how you grew up, Deb. I think we’d all like to know.

Picture a tiny, blonde-haired girl, living miles out in the sticks. “Well, I was pretty much alone, and my life was lived through the TV, watching monster movies all day. So, I grew up wanting to be a vampire, it was all I ever wanted. It was all I lived for.”

As her chuckle turns into a cackle, Rudi interrupts again. Ego on wheels?

“Our whole lives are what you see – we’re white trash, we’re proud of it. White scum. Let me tell you something. When I was a child my parents divorced, and I lived with my mother. And one night, I woke up because someone was pushing a pillow down on my face.

TRYING TO KILL ME

All I know was that no-one was in the room, but I was being stifled. Someone was pushing, and I was pushing back and I was losing. Somehow, I got this thing off. And I know that what was trying to kill me was the ghost of my grandfather. He haunted our house.”

There is no way I can smile as this is being recounted. Whatever has or has not happened, Rudi believes it. He has also taken part in seances, and discusses with me the phenomenon of simulacre, Spirits and entities.

Tales of telekinesis (dictionary definition: “the movement of a body without any apparent physical agency” – that is, I’m sitting a foot from the male equivalent of Carrie White). Things smash when Rudi’s around. I’m not about to test him on it.

“Lysergic Emmanations” the LP, is released in the UK ahead of America. What are we to make of the name?

“Look it up,” they say. I have. I want you to tell me (Lysergic acid is more commonly known as LSD).
“Well, you should try to visualise the songs on the album in your mind. What we’re saying is that we’re a mind-altering distortion.”

And tell me, how did the track “Ward 81” come about?

It begins with the recorded voice of the fanatical preacher at a Southern revivalist gospel meeting:

PSYCHOPATHIC WARDS

“Ah believe that thousands of people in psychiatric wards, in psychopathic wards, hear me! in inn-sane asylums have been driven there by the Devil! By demon spirits, whose dooty it is to towh-ment people. how many believe me?” A hundred superstitious Southern ladies and gennlemen howl back that they believe. It’s the most chilling thing on the LP.

Deb: “The song recalls the time when Rudi and I were playing in Tina Peel, and we were also working in a government funded project where we would be paid to perform in prisons, in mental institutions, and so on.

One Hallowe’en, we played at a home for geriatrics who were there to die. So they brought all these vegetables out in wheelchairs, and they all had on Hallowe’en masks – monster masks, clown masks. We had to play to these people.”

Rudi: “It was just an observation song. I’ve never been put in a mental asylum. Yet.”

This is the band who treat their Vox guitars like Gods. This is the man who has two Vox Phantoms tattooed, crossed, below a skull on his biceps. And another thing. it may be of remote interest to you to know that, at the gig that evening, smiling to myself over Rudi’s voodoo knowledge, I suddenly felt a hand on my face and lost my vision for several seconds.

No-one was there. And writing this up, the tape of the LP went completely blank when it reached the part where the preacher’s voice should have been. Of course, there are explanations for these things. But I think you should hear this white trash music.

Now. It will move you as nothing else can do. It will invade your brain. And, in a music mixed from sex and voodoo, that can’t hurt, now can it?
By the way, is that your cat squealing?

TRANSMISSION #02

AZTEC CAMERA – “High Land, Hard Rain” (Rough Trade) 1983
COCTEAU TWINS – “Pearly Dewdrops’ Drops” (4AD) 1984
JOSEF K – “It’s Kinda Funny” (Postcard) 1980
LYRES – “Someone Who’ll Treat You Right Now” (Ace Of Hearts) 1985
LONG RYDERS – “Looking For Lewis & Clark” (Island) 1985
FUZZTONES – “Creatures That Time Forgot” (Music Maniac) 1989

Radio, Live Transmission – Here it is, its that time once more for a delve in the boxes of records and shelves upon shelves of black gold, looking to add to my ‘Transmission’ interludes, where I play records from my past.

Many of these have never seen my turntable since the mid eighties. But it’s time to return to them with fresh and somewhat older ears and senses. Will I still rate these records?

First off is Aztec Camera‘s album “High Land, Hard Rain” released on Rough Trade during the Spring of 1983. I would have bought this soon after, no doubt about that.

I already had one of their Postcard Records singles from the year before and had witnessed the young Roddy and his group sometime in ’82 at the ‘Bier Kellar’ Club, Waterloo Street, in Newcastle. I can’t remember that much about the gig other than I noticed just how young Aztec Camera were and Roddy Frame was wearing the suede jacket he wore in the photo posted opposite.

I’m guessing they played their Postcard material and songs from the album, not yet released or perhaps even thought about!

To put things into perspective, Roddy is the same age as me. So in 1983 he would have been no more than eighteen years old, possibly still only seventeen.

I’m kinda laughing to myself here because when young Roddy was writing, arranging and recording every song on this album I was still earnestly reading Shoot football magazine and playing Subbuteo with my younger brothers.

I must have played this hundreds of times during 1983/84 period and listening to the music now reminds me of those days when I’d drop the needle onto Side One, read a Shoot, an Oor Wullie annual from Christmas, or simple grab a piece of paper and a pencil and draw the birds I’d see from my bedroom window.

SKILLFULLY INNOVATIVE

It’s difficult to chose a favourite, they’re all worthy. I believe a couple of the tracks were released as singles but I never got beyond “High Land, Hard Rain,” around the corner for me was the discovery of the Byrds, Love and 60s garage mayhem via “Back From The Grave” compilations.

Anyway, this record is influential and skillfully innovative. Not really my scene anymore but I can appreciate its value. The intricate ‘bright’ guitars, strummed acoustics, youthful exuberance and words weave their patterns. Remember, all created by a teenager.

During some of the numbers I can hear those horrendous electric drums, known as Syndrum drums. This awful percussion takes away huge enjoyment for me nowadays. But I’ve recently read that Roddy Frame liked what producer, John Brand did with his songs, so who am I to argue?

Continuing with the Cocteau Twins and their second single from April 1984, or at least a year since their debut “Peppermint Pig.” It seemed that I couldn’t go anywhere in the mid eighties without hearing one of the local DJ’s playing “Pearly Dewdrops’ Drops”.

I didn’t take much notice then, by mid 1984 I’d discovered garage punk, so this goth cum indie cum noise was no longer on my agenda, unless of course there was some jangle. This then, was not on my agenda.

Roll on thirty odd years later and I’m perusing a dealers record stock on Discogs and this was for sale among a batch of others I was going to buy. OK, it was only a couple of quid, so I added it to the ‘basket’ at no extra postage costs.

Playing the disc now I’m hearing that the Cocteau Twins have a certain dream-like quality and could be considered pioneers of what would be described as ‘dream pop’, in that they’re creating very ethereal textures of sound, all very gloomy with dollops of murk and mire.

Apart from the vocals, it’s minimalist. They’ve got a full palette of paints but they’re only dipping their brushes into a few colours, and I like that.

What I’m not so keen on though is that synthetic beat. I’m not sure they had a drummer in their band so probably got a studio automaton to press a couple of buttons on a drum machine. The percussion would have sounded superior with the human touch and slight of hand.

Elizabeth Frasers’ vocals are tuneless but original, I can’t recall many other singers like this before or after since, not that I’m that well informed with dream-pop / goth music. Don’t have a clue what her indecipherable warbling means though, can’t make out any words.

THROW THE RECORD OUT OF THE WINDOW

More of the same dirge on the other side, much worse with the drum machine programming though, no rhyme nor reason to it. I wanted the side to end so I could throw the record out of the window.

I found this quote from bass player, Simon Raymonde: “We said no to a lot of things and people don’t like the word no. We should have done ‘Top Of The Pops’ when “Pearly Dewdrops’ Drops” was a hit.

We were offered it but we said no. It was too scary. We didn’t talk about the fear, but the bravado side of it was “this is bollocks – people dancing with balloons” – We just weren’t comfortable in that world.”

Next up are my new find, Josef K. Both sides of the single were recorded at Castle Sound Studio during October 1980. “Final Request” is way better in my opinion than the A-Side “It’s Kinda Funny”, there’s an alliance of urgently spiky guitar, military drum racket, bass with darting notes and discordant vocals – all very anti-pop in approach and style. No way day-time radio friendly, a bonus of course.

“It’s Kinda Funny” is slower, restrained and drags along, even the band sound bored. It’s all very Joy Division and the misery is boundless. Nothing really stirred me into action that’s for sure, and the electric drum ‘pow’, pow’ didn’t do anything for me at all. This was a mistake in retrospect. I believe there is another version without this annoyance.

The lyrics are good though:

“You may be dumb, but the passage of time can change anything,

like the feelings we find, so I’ll disappear through the crack in the wall

and the memories I leave will be nothing at all.

It’s kinda funny.”

JOSEF K – IT’S KINDA FUNNY

The Lyres have been around for years, led by “Mono Man” or in some minds ‘thee irritable curmudgeon’. Here they are presented on my turntable with a rather pedestrian garage rock number called “Someone Who’ll Treat You Right Now” from 1985.

This one hasn’t been out of the box for decades, more vibrancy on the parrot’s feathers than in between the grooves on this disc. Am I missing something?

At least they’re incorporating real drums, although they’re mixed too loud, turn up the guitar, turn up the organ and I want to hear your tambourine clattering away like a thousand milk bottles crashing from a great height. The Kinks inspired riff doesn’t really get off the ground, hardly in the Ray / Dave Davies class, but then not many of the ’60s beat merchants were.

MORE VIBRANCY ON THE PARROT’S FEATHERS

I know many wired Lyres numbers but this isn’t one of them, may take me a few listens to fully appreciate this single, its not immediately rattling my cranium and that’s what I demand from mid ’80s garage punk.

The other side, “You’ve Been Wrong” is slightly better, more melody and the vocals are not so strained. Drums too loud again, organ has plenty of space but the guitar and bass are barely audible.

“Mono Man” is active on Facebook in a variety of guises, he keeps changing his profile, its difficult to keep up if you can be arsed. I once hooked up with him on that platform years ago but this was only a fleeting alliance, before he culled me from his friend’s list during one of his regular meltdowns. For no reason, its just what he does.

The Long Ryders hit my deck last time out with “I Had A Dream”, this time around it’s “Looking For Lewis & Clark” from 1985. I bought this when it came out and I believe all copies came with the addition of a bonus single matching “Southside Of The Story” with “If I Were A Bramble And You Were A Rose.”

“Looking For Lewis & Clark” is a solid country turned punker with a steady beat for hillbillies to get all excited about while they get pissed on their bottles of moonshine. Then, possibly after an evening of line-dancing go back home to their shack to fertilize their cousins. So, it’s a good rocker with a good harmonica break, which to be honest was a rarity in the mid eighties.

The other songs on offer are country rock and not my scene and probably the main reason why I never ventured beyond “Native Sons.” But if rescuing your fiddles out of the garage and havin’ a hoedown is your bag, you’ll dig them all I’m sure. I just wanted the record to end so I could play Josef K once again!

The Fuzztones had an impact on me during the mid to late to eighties, not necessarily just with their music, which I loved, but also their way-out dress sense.

Mixing as they did leather, denim, hideous outsider hairstyles, necks draped with a silver talisman and boots so pointed and heeled high that their appearance looked terrifying. Remember, this was the eighties. No one was meant to look like this.

Although this album was released outside my strict 1977 – 1985 period, all of the tracks are demo versions, radio appearances and long-lost alternate takes of garage punk lullabies recorded during the early eighties.

Let’s tango through the Time Tunnel, back to September 19th, 1980. The “Mind Expanding” Fuzztones are making their debut at Club 57, a seedy little underground dive in NYC. Day-glo lights are flashing, go-go girls are frugging with wild abandon, and the World’s Wickedest Voodoo Slingers take the stage.

With leather and paisley abounding, human bone necklaces flying and black Beatleesque hair gone amok, the Fuzztones launch full throttle into a raunchy explosion of psycho-punk bursting with enough passion to make it seem vital all over again.

TRANSMISSION #01

FELT – “The Strange Idols Pattern and Other Stories” (Cherry Red) 1984
LONG RYDERS – “I Had A Dream” (Zippo) 1985
EYES OF MIND – “Tales Of The Turquoise Umbrella” (Closer Records) 1984
LIME SPIDERS – “Slave Girl” (Citadel) 1984
JOSEF K – “Radio Drill Time” (Postcard) 1980
ORANGE JUICE – “Simply Thrilled Honey” (Postcard) 1980

Radio, Live Transmission – I bought this copy of “The Strange Idols Pattern and Other Short Stories” sometime in 1984, possibly 1985. Inside the cover is a £2.50 price tag, marked in pen. I recognise the writing from a Sunderland record shop called Pet Sounds. I bought a ton of records there back in the day, some from their Newcastle shop.

But during 1984/85 I rarely ventured outside Sunderland so I probably bought my Felt album there. Maurice Deebank’s guitar sound is mesmerising throughout. It’s the first time I’ve played this for many years and straight away my attention is captured completely, I’m almost in a transfixed state of mind. It’s so ethereal and jangly.

Lawrence adds his strange vocals to some of the numbers. He sounds like a drawling Lou Reed sometimes or is it just me thinking that because I’m so spellbound by the guitar sound? He’s not the greatest singer you’ll ever hear and Lawrence may even put a host of people off, but that uniqueness adds to the beauty of the music contained within.

My copy came with a small insert of lyrics, tiny writing on a piece of thin paper. These days, with my eyes, I’d need the Hubble Space telescope to read them.

The countryfied Long Ryders I can live without, in fact I never ventured beyond “Native Sons” and the two cuts on this single are both from that album. This is a massive Byrds cum Flamin’ Groovies inspired rocker from 1985, and since I last looked on YouTube someone has uploaded the promo video. “I Had A Dream” last night that it was the mid 80s.

How spooky is that? The other side, the contemplative psychedelic tinged rocker, “Too Close To The Light”, is credited as the ‘Buckskin Mix’ but it just sounds the same as the version on the LP. Or am I missing something?

Zippo were releasing some very important, mostly American, discs in the mid eighties and I thank them for that. It allowed my ears to sample some beautiful sounds. American bands sounded much different to ours that’s for sure.

Cover photo by Henry Diltz.

Next up on my imaginary “Transmission” is an album by the Eyes Of Mind. They hailed from Los Angeles and were tentatively linked with the so-called ‘Paisley Underground’ scene. I suppose that was inevitable coming from where they did and playing a brand of new psychedelia.

If I was to compare their sound with their contemporaries it would be sort of like the Three O’ Clock injected with a tiny piece of Rain Parade.

The album is laden with delicate rhythms and accomplished vocal harmonies, all on the right side of alternative but definitely pushing through the boundaries of modern day pop commercialism.

“She’s Got Stars” is probably the strongest number of the collection, fast paced with swirling keyboards and certainly psychedelic, “it’s so deceiving”

They had some heavy guns helping them out too. Most of the album tracks were produced by ’60s wizz-kid Marc Wirtz, a sprinkling of cuts made way for Brett Guerwitz’s control, who went onto acclaim by producing Bad Religion and developing Epitaph Records.

The cover art is a collage of flowers, skulls, spooky Adams Family style houses, flashy vintage cars, clocks, umbrellas and there’s a snake in there too. I remember spending many minutes looking at the art and wondering what it all meant?

Recorded at Pacifica studios, Los Angeles and Silvery Moon studios, Hollywood, CA – August 1984.

I don’t rave too much over Australian group the Lime Spiders, most of their recordings sound way too metal for me. The drums especially have that synthetic, over-load of noise. Probably gated to some extent and I fucking detest gated drums.

“Slave Girl” is perhaps their most famous garage rock tune. It powers along on a very basic knuckle draggin’ riff or in this instance, a bonehead slave girl draggin’ riff. The lead shouter could do with a bucketful of throat lozenges or Koala blood to lubricate his sore pharynx.

A decent stab at ‘Neanderthal Rock’ which is actually enjoyable and deserves its place on my turntable today. They tread the same prehistoric footpaths as the Avengers who gave their stone-age followers the magnificent ‘beat a woman about the head and keep her in line’ chaos of “Be A Cave Man” in 1965.

These Aussie Homo-Troglodytes were probably prowling the out-back at dusk hoping to knock-out some kangaroos with femur bones. Their record label, Citadel, may have even paid them a crate of tinnies for each kangaroo thrown on the Barbie.

The other side “Beyond The Fringe” is a fast moving punk charmer with a terror man scream kickin’ things off over a brisk and heavy opening riff and sounds at least five years out of time. Don’t know if there was a punk revival going on in Australia in 1984 but not much sounded like this in England anymore.

The song was inspired by the sleeve notes of Lou Reed’s “Metal Machine Music.”

There will be more Josef K records under the spotlight in future “Transmissions” because I’m very intrigued by their artistic approach.

“Simply Thrilled Honey” by Orange Juice has a great opening and builds strongly, quaint jangling guitar, economical drum beats and Edwyn Collins’ unique vocal style all combine to make this record a winner. Probably sold in decent amounts too.

According to an interview printed in ‘Sounds’ at the time of release, which was June 1980, the song is about a girl who tried to seduce Edwyn but he didn’t want to go to bed with her.

“Breakfast” on the B-Side was provisionally chosen as a future single in its own right but to be honest, this one is just too progressive and uncommercial. It may have delighted a few of the John Peel Radio show worshippers but it failed to satisfy my expectations.

The opening is quite exciting and I was ready for take off but then it turned into a morass of unfulfilled ideas and rhythms, then ended.

I’m not sure when Edwyn Collins sings the repeated line “How I wish I was young again.” refers to him? I’ve checked and he would have been twenty years old when the record came out. Oh to be twenty years old again!

BARRY CAIN REPORTS ON THE START OF THE SEX PISTOLS’ AMERICAN TOUR – FROM RECORD MIRROR, 14TH JANUARY, 1978

SEX PISTOLS
Atlanta, Georgia

“Hullo my name’s John and this is the Sex Pistols.”

Atlanta, Georgia. The Great South-East Music Hall. Redneck City welcomes punk city slobs. The opening night of the Pistols’ American tour and the southern weirdos are out in force along with the vice-squad.

Nobody quite knows what to expect. There are queues of people outside in the rain taking shelter in the shopping precinct doorways. There’s no way they’re gonna get in. Curiosity, fried chicken style, sold out the tickets weeks in advance. About the best these southern zeros can hope for is a raid.

“Hullo, my name’s John and this is the Sex Pistols” and into ‘God Save The Queen’.

HOPELESSLY OUT

And so the band belly flopped into one of the worst gigs they have ever played. It was bad, I mean crapola. Rotten, in tails (minus top hat) left his heart in Finsbury Park. His voice has never been so flat. Steve Jones’ guitar is mercilessly out of tune. The timing on nearly every song is hopelessly out.

‘I Wanna Be Me’ follows which Rotten claims is the new British National Anthem. “Forget about staring at us and just start dancing. Have some fun, we’re all ugly. We know that.” Rotten book of quotes number 134.

By the third number, ‘I’m A Lazy Sod’. Vicious slips out of his leather jacket revealing his Bullworker body. America doesn’t seem to agree with him. Hell, life doesn’t seem to agree with him.

SHEER AMATEURISM

“See the fine upstanding young men Britain’s chucking out these days.” Quote number 289. The men from Atlanta reserve spitting. For special occasions – like baccy chewing. So they’re content to throw plastic cups and rolled up bits of paper.

And a lot of them are too drunk to appreciate the sheer amateurism of the band. It’s impossible to gauge reaction from this crowd – too full of journalists.

“Aren’t we the worst thing you’ve ever seen?” queries Rotten. The Atlanta crowd cheer – though they can’t understand what he’s saying anyway.

The band fumble through the rest of the set finishing on song number 12 – ‘Anarchy In The UK’ or US of A as Rotten’s trashcan intonation dwells on the A-A-A-A.

There was no encore.

Sid Vicious in airport waiting lounge next day – “We were terrible last night.” Point taken. Now if y’all wanna hear more of this, toon in next week. Same grime, same flannel. Y’all hear now.

FROM RECORD MIRROR, 14TH JANUARY, 1978

Right around now you’re going to hear some big sighs of relief from the BOFs’ division. See – they were right all along, they said it wouldn’t last – and it hasn’t. Punk is dead. The new wave is over. The tide has turned.

Don’t believe everything you hear. What’s happening now is not death and decay, but growth and development. ‘Course it sounds different now, like every musical movement before it, punk, new wave, whatever tag you want to give it, was never meant to stagnate. It had to progress.

So if ’76 saw the birth of the new wave, and ’77 its squalling infancy, ’78 should see it taking its first toddling steps forward. Last year’s leaders – and you know who they are – are still in there at the front of things. The rest have become irrelevant already drowned out by the next wave surging in behind.

The class of ’78. They haven’t yet been named. A few labels have been kicked around – the pop wave, pop punk, power pop – but none has stuck. So far. But labelled or not, the groups are already here. Names to look out for – Rich Kids, Tonight, those great unknowns XTC, the Pleasers.

That’s the Pleasers on the front cover, all dressed up in suits and smart red boots. Look a lot like the Beatles, don’t they? Actually, it’s an illusion. The Pleasers , dressed in woolly jumpers and denims and welly boots, don’t look a bit like the Beatles. Not one bit.

The reason the Pleasers are wearing woolly jumpers and denims and welly boots is cos they’ve been sent to this remote hotel on the coast of Wales and it can get cold at this time of year.

The hotel is perched right on the edge of the cliffs, open to all those fresh Atlantic breezes.

“There’s nothing to do here but rehearse,” they moan. Which of course, is the idea.
Actually there’s quite a range of activities – healthy walks along the cliff, playing scrabble, drinking, eating, sleeping.

But after a week, their appeal is beginning to pall somewhat. The boys are itching to get back to good old unhealthy London.

But in the meantime, they’re resigned to spending their days in the hotel dining room with American producer Tommy Boyce, whose come to knock ’em into shape.

Tommy, fresh from his successes with the Darts, obviously knows a thing or two.

“It was either to be Nick Lowe or Tommy producing the boys,” says manager Pete Hawkins. “But Nick has more commitments with Elvis Costello and that crowd, and anyway Tommy has that singles magic.”

That much is obvious from the way he works with the group. The boys reckon they’ve never sweated so hard, going over three or four piece harmonies until every note is perfect, working out riffs and melodies instrument by instrument.

The group do sound like the Beatles, no doubt about it, even hearing them in a hotel dining room instead of a Cavern type basement club. But the key word is ‘influence’ rather than ‘copy.’

“We could go out and copy the Beatles’ songs, note for note,” says lead singer Steve McNerney. “We could make a fortune doing that in cabaret. But that’s just not what we’re trying to do.”

The group’s songs, mostly composed by the writing duo of McNerney and Benham (any resemblance being totally coincidental) have that same instant hook as the Beatles’ early ditties, and the same innocent themes – the girl next door, falling in love, breaking up.

Teen dream romance. But otherwise, they intend finding their own direction.

“They haven’t really had time to establish their own sound,” Pete tells me. “Nick Powell only joined the group in October, and he had to start work right away. But now you can hear a distinctive sound coming through.”

By Thursday night, the group are ready to give us all a special show, running through the dozen or so tracks they’ve been working on with Tommy. They’ll be recording these same tracks next month for their first album, and one of them will be picked out as the next single.

They’ll also be appearing on the Hope And Anchor Front Row Festival Album , even though they consider the appearance there as one of their worst ever gigs.

Pete has brought down a live tape from London, and the band listen to it in the bar after dinner. Although most of it sounds pretty reasonable to me, equipment problems have obviously caused a few disasters, and the group collapse in giggles at intervals, pointing mock accusing fingers at each other.

The talk moves on to clothes, a subject that’s caused the group a lot of thought. It’s agreed that they’ll probably keep the suits for stage wear, but the problem is deciding on a secondary set of outfits for casual wear.

No one can agree on one definite style – Bo Benham, the man whose feet have caused Pete endless problems (“This group have to have the biggest feet in the country – all their stage shoes have to be specially made”) suggests waistcoats, but he’s overruled by the others.

The man from Arista, Andrew Bailey, offers the lads £150 each to spend on clothes, but Nick is thinking BIG. “What we’ll need once we’re on the road,” he reckons, “is at least eight stage outfits, and about the same number of offstage clothes.” Andrew pales visibly at the thought.

Still at least the group’s fans have no such dilemmas about what to wear. It seems that, wherever they play, they’re followed by dozens of girls in – of all things – tiny, micro mini-skirts. Makes their gigs worth turning up for.

Before turning in for the night, the lads – cheered by liberal amounts of wine and lager – decide to go for a bracing walk down the sheer cliff path, led by our trusty guide Juliette, the hotel barmaid – cum – waitress, who insists she knows the way, even in pitch darkness.

Fortunately, her theory is proved wrong when, halfway down the path, she falls into a bramble bush. The lads seize the opportunity to head back to the hotel and safety.

And so our intrepid heroes are saved to play another day.

I was cleaning out the garage this afternoon and raided a few sideboard drawers looking for some long lost items, including several Sound Explosion at the AN Club gig posters sent to me at the end of 2004. I’ve also included the covering letter band leader John Alexopoulos wrote and included with the package of 90s garage punk ephemera he shipped to me from Athens, Greece.

I previously never had a scanner big enough to do these justice. They’re all the original A3 size and would have adorned pub walls, record shops and any where else, to attract fellow long haired fuzz freaks into thee “AN Cave.”

The Creatures of the Golden Dawn ‘Love Me Don’t’ – I can recall buying this CD album “The Keys To The Kingdom” in 1998 at a record shop in Camden Town, London during one of my annual pilgrimages to buy records.

I had never heard of The Creatures Of The Golden Dawn from Pennsylvania, but one look at the gear they were wearing on the cover gained my interest.

OK, next thing to do is check out the track list and I was pleased to see a couple of ’60s garage cover versions, “Where You Gonna Go?” by The Unrelated Segments and “My Brother The Man” by We The People. That sealed the deal, this 1997 CD release was something I was interested in buying.

I was always drawn to the track “Love Me Don’t” right from the off but today I played the CD album for the first time in a few years. Would anything else really jump out at me and shatter my mind.

No, not really. It’s all very decent and they make a garage racket but the original song “Love Me Don’t” is still the killer number here, for my pocket of cash.

“Love Me Don’t” reminds me of the garage rocker sound The Headless Horsemen from NYC generated on their urgent and must have releases. The Creatures Of The Golden Dawn are very much more ’80s garage punk than ’60s garage and I love ’em for that.

“Love Me Don’t” has an ear bashing guitar riff throughout. The riffage is sublime, sharp and decisive. Mike Lowe delivers “A” Bombs all over his song. Way-Out garage punk guitar solo.

His efforts are allied with tremendous scatter-gun drum action, nonchalant lyrics delivered perfectly by an intense Mark Smith on lead vocals.

Sadly, Chris died young from complications due to Huntington’s Disease some years ago. Syncopated backing vocals and hand-claps add to the texture of this splendid punk anthem.

Make a quick search in google for The Sheds of Folkestone and you’ll find hundreds if not thousands of wooden garden sheds. These sheds are where blokes hide their plant pots, leeks, Alan Titchmarsh books and perhaps their Monty Don fan club letters.

But I’m only interested in a little known garage punk band from the late ‘80s, early ‘90s called The Sheds.

Fortunately, over time, I have acquired a healthy knowledge base and garage punk connections and was able to approach some prime movers in the hope that they would furnish me with any relevant information and perhaps ancient photos held captive for decades in rusting tin boxes.

The Sheds were:
Marty Ratcliffe (guitar / vocals)
Mole (bass)
Mike Warren (drums)
Jay Darlington (vox organ) joined 1990
Martin Jordan (tambourine / backing vocals) joined 1990

The Sheds were formed in 1988 but it took them a little while to venture out onto the gig scene where they effortlessly created their vicious noise at local pubs in Folkestone. According to Marty their first outing was on the 16th June, 1989.

Perhaps their pinnacle was two support slots for an early line-up of hippie types Ozric Tentacles. They also shared a gig with ancient folk relics Caravan, this was during the Summer of 1990.

Cast your mind back to that period in time. Gazza was crying his eyes out as England surged to the semi-finals of the World Cup in Italy and The Sheds were burning the ears off anyone who dared to listen to their inept garage punk sounds.

The Sheds made several demo tapes and some of their gigs were recorded for prosperity. Perhaps one day something will emerge back from the grave. Until then here are a collection of rare photos I have obtained from my connections.

WHAT HAPPENED NEXT?

Marty and Mole formed The Mystreated and recorded their first demos in October 1991. Their first gig was in November of the same year. There was then a flurry of releases starting with “10 Boss Cuts” on Hangman Records and the single “There’s No Escape” on Sympathy For The Record Industry in 1992 and a three song EP “You Better Run” on Twist in 1994.

Jay Darlington was an original member of Kula Shaker from 1994

Kula Shaker Photoshoot, London 06/10/1995 (Sony Music Archive via Getty Images/Mark Baker)

Martin Jordan and Mike Warren were in local group The Disturbed who cut a 1997 single (“Eye Spy” / “Don’t Stop”) for Detour Records.

The Vapors ‘News At Ten’ – When I was a hormonal teen back in the late ‘70s and early ‘80s, all I cared about was Subbuteo, Leeds United and Panini football stickers. I also began my interest in pop music and the two bands I latched onto were The Jam and The Vapors.

Today, I’m thinking about my schoolboy days, something I do on a regular basis if I’m honest, long live childhood memories and nostalgia. Those days playing cricket and football on the road of our Council Estate.

Happy times out and about searching in gorse bushes and hedgerows for bird nests, calling at the local Chip Shop for chips & cheese patty, chucking stones at lamp posts. Ah, those days, come back to me now!

Anyway, I digress. I’ll chat about The Vapors and in particular their single “News At Ten” released June 1980. What a tight little number and a natural follow-up to their smash hit “Turning Japanese”.

“Time’s gonna make you a man some day
And you won’t want to go out and play with your friends.”

I don’t remember it being played on the radio but it most certainly would have been. Their album “New Clear Days” was released the same week as this single in June ’80.

HE SHEDS – LONG FORGOTTEN GARAGE

The brand new Technics SL 1200G is a most beautiful turntable and is the equivalent of having a Rolls Royce parked in my bedroom. These retail at around £3,000 and are expensive, but all being well, this is most likely the last ever turntable I’ll buy in my lifetime.

THE DOWN CHILDREN – “NIGHT TIME GIRL”/”I CAN TELL” (PHILIPS 40441) MARCH 1967

Not a great deal of information is known about The Down Children so if anyone knows much needed information be sure to get in touch. According to ‘Teenbeat Mayhem’ the group hailed from Philadelphia, PA. This single on Philips was their only release.

“Night Time Girl” was first recorded and released as a single by M.F.Q. Check out my archives for that one, I recently uploaded a YouTube video. The Down Children version adopts a slower pace, features male/female vocals and is perhaps even more of a psychedelic head tripper. The flip “I Can Tell” is also worthy and features a crude Count Five fuzz style ‘Psychotic Reaction’ rave-up.

THE MONKEES – ’ALTERNATE TITLE’ / ’FORGET THAT GIRL’ (RCA VICTOR 1604) JUNE 1967

”Forget That Girl” is an overlooked Monkees song recorded at RCA Studios in Hollywood on the 7th and 8th March 1967. The recording line-up consisted of Mike Nesmith (12 string guitar), Peter Tork (electric piano), Davy Jones (vocals and maracas) and Micky Dolenz (drums).

This beautiful jangling ballad was written by Chip Douglas who had become the Monkees producer at this point in time. ”Douglas Farthing Hatlelid” is his made up name. Although ”Forget That Girl” never appeared on a 45 in America it was part of the ”Headquarters” album.

Thankfully, ”Forget That Girl” did get a single release in Britain during June 1967, it can be found on the B-Side of ”Alternate Title.” The song featured in the Monkees episode ”One Man Shy” during August 1967.

RONNIE MICHAELS – ’ALL NIGHT LONG’ / ’I’M STICKIN’ WITH YOU’ (MALA 495) LATE 1964

Last Summer I bought this obscurity by Ronnie Michaels on Amy Records. I knew nothing about the record or the artist and sent some feelers out for information. Imagine my surprise when some months later Jerome Mykietyn (Ronnie Michaels) got in touch via email. ’All Night Long’ has a hard edged beat sound where Michaels sings like a rock’n’roller but it’s most definitely got an eye on the new beat sound emanating from Britain during the mid 60s.

I asked Jerome some questions about this early recording and he obliged accordingly.

JEROME

”My name is Jerome Mykietyn and my first record was ”I’m Sticking With You” b/w ”All Night Long”, released in 1964 under the name of Ronnie Michaels while I was in college. Ron Dante (of ”The Archies”) was instrumental in getting me on the label. ”All Night Long” was actually the ”B” side and was a demo of my song I did with my high school rock band.

At the same time, I had a song called ”Rumble In The Night” recorded by Mike Minor, who starred in the TV show ”Petticoat Junction”. The recordings were produced by Stan Shulman, who owned Dunes Records. The backing singers on ’I’m Sticking With You’ were Ron Dante and some of The Tokens. As for the ”B” side, ”All Night Long” was done by Jerry Dodd (another pseudonym) and The Demons, my high school rock band, and was recorded in a small studio (Hertz) in Newark, NJ. Our band was based in Wayne, NJ.

That group broke up when we graduated High School.

Afterwards, I recorded for Laurie Records with my band The Yellow Brick Road. I was with the label for six years and had 15 releases (many of which were my own compositions), but unfortunately, no major hits. Consequently, I had some independent releases and the last was my own label where I produced my first full blues album, ”sing it, white boy!” by The Reclamators. It is still being played around the world and I’m happy to be getting sales.

I was thrilled to see that there are serious collectors of vinyl 45s and that I am included. I’m currently working on a country album and should have a release later on this year. If you get a chance, you can see me and The Reclamators on YouTube”.

MUSTACHE WAX – ’I’M GONNA GET YOU’/’ON MY MIND’ (INNER 501/2) NOV 1965

It’s a shame that the label to my Mustache Wax slab of genius is torn and crudely coloured in with orange felt tip but it’s the music that counts at the end of the day for me.

Mustache Wax hailed from the Bronx area of New York although I have read elsewhere that some members came from Queens/Kew Gardens.

’I’m Gonna Get Get You’ is a memorable folk rock jangler, the other side ’On My Mind’ is a minor key moody beat number that has constant changes of pace…slow then fast…quite unusual really.

The record got a mention in Billboard trade paper circa December 1965 as a ’spotlight’ new release.

Since I wrote about this fine record I have made contact with Mustache Wax member David Knopf. David kindly provided some much needed information about his 60s combo.

David Knopf: It’s amazing how the Internet helps bring things together. I was the bass player in Mustache Wax, and all the members were from the Riverdale section of the Bronx. It’s the northern tip of the borough, right before you get to Yonkers in Westchester County.

”I’m Gonna Get You”, the jingle-jangle song, was written by Eddie DiBiase, who may be the Queens connection you mention. Eddie, as I recall, also played the harmonica and did very well. It was an impromptu addition and added a lot to the song. Eddie was also Inner Records, which was part of something called Universal i. I don’t know if they label put out other records or was a one-shot deal.

The B side, well-described on your website, was written by guitarist Danny Lutzky, who at the time de-ethnicized his last name by calling himself Daniel Lane.

Other members of the band: the singer was Lloyd Goldberg, also the drummer. We had a large black mustache painted on his front drum head and Richie Winston, guitar. I know there was one 12-string used on the A side. Might’ve been two. The song was recorded in a studio on 42nd Street in Manhattan. As far as I remember, we were high school juniors.

The band was together for a while, with different names and line-ups, but Mustache Wax was our last stop together. I’d imagine the group was together maybe a year with those members. In addition to a brief road trip to Pennsylvania (I recall we were told that the A side reached No. 5 in Allentown, Pa.), we opened for The Lovin’ Spoonful in a concert hall in Providence, R.I.

Someone in the Kansas City area (where I now live and perform as a songwriter) contacted me after I wrote a humor column about the band experience and my desire to tour as a solo when I retire. The fellow is a historian of garage bands and actually guessed the name of the band, the record label and the year the song was recorded.

He mentioned that the song was reissued on a bootleg compilation by Pebbles. It’s funny to me that we’re considered a garage band because we all lived in high-rise, semi-suburban apartment buildings.

I’m completely amazed that anyone even knows the record existed!

ZONE 26 – ’WHEN THE WORLD TURNS COLD’/’WE CHOSE TO WALK’ (WORLD PACIFIC 77896) 1968

I haven’t been able to find out any information about the curiously named group Zone 26. I’m sure someone will have some facts etc so if you do, please get in touch. And what about that name….Zone 26….What does that mean?

They’re probably a Californian outfit, more than likely from Los Angeles or the surrounding area. I first heard both sides of the 45 on a U-Spaces compilation called ’California Love-In’ and was so impressed by the psychedelic sounds that I spent several years tracking down a copy. It’s probably one of the most difficult releases to locate on the World Pacific label.

’When The World Turns Cold’ is dominated by a Doors like organ sound and violin opening instrumental backing that lasts for well over a minute before singer (Brian Monsour?) bursts through the strangeness.

The flip ’We Chose To Walk’ is quite a bizarre song and comes over like a weird mix of Doors and Syd’s Pink Floyd with hard to fathom lyrics. It seems that Zone 26 could have been mixing up their medicine.

”Don’t sell your soul
For you will know.
You’ve lost your way,
And now you’ll have to pay”

Bob Monsour

Since I wrote this entry about Zone 26 I have been contacted by their drummer Marco Ruggio.
I asked Marco to fill me in with some of the important details about his 60s band and he kindly obliged.

The name of the band was ZONE 26. It was named after a postal code in Los Angeles, California. The area was Echo Park. Most of us came from this area hence the name.

ZONE 26 was made up of the following people & instruments:

Vocal – Ron Castro – alive and teaching theatre

Organ / Bass Piano – Brian Monsour – dead

Guitar – Chris Merlin – alive and in TV production

Electric Violin – Greg Bloch (one of the first uses of electric violins in rock ever) – dead

Drums – Marco Ruggio – alive / film maker director / editor

We formed in Los Angeles in 1965 and were mainly a local band with a very local, strange following and played all over Los Angeles with just about everyone: Bands like The Doors, The Buffalo Springfield, The Staple Singers, Taj Mahal, The Iron Butterfly, The Yellow Payges, and so many others.

Vito, the famous artist used to bring his insane entourage including Nico (famous model) to hear us when we’d play places on the Sunset Strip. We played at all the local ”love-ins” with PG&E, The Blues Project, also at the Whisky A Go Go, The Troubadour, Gazzari’s, The Galaxy, The Cheetah (no longer exists), The Hullabaloo.

We were signed to World Pacific. Our producer was Richard Boch. He produced acts like Ravi Shankar. The 45 was recorded at the 3rd Street Studio owned and operated by Liberty Records, which was the parent of World Pacific. It was our nasty and begrudged attempt at ”something commercial.” This is why the lyrics talked about ”walking” rather than ”taking the bus.” We were pretty much an uncompromising stoner band.

Our music, which you can’t tell from this recording had huge classical influences. Greg Bloch, our violinist, was asked to play with many prominent symphony orchestras. Both his father and sister, Calman & Michelle, shared the first chair clarinet position at the LA Philharmonic.

We had difficulty coming up with ”top forty” material. We were biz-stupid, arrogant, street philosophers, wild and completely impoverished. It was LSD and exploring the unknown all the way for us. We were a band honestly interested in consciousness expansion and made an attempt at conveying it in our music. But as usual, without sanity and discipline the flame gets too hot and you burn. We got very little local airplay.

OTHER INTERESTING FACTS:

We DID record an entire album but it was deemed very interesting but un-commercial. I have no idea where the material is.

No photos were kept.

Band broke up due to creative differences and drug abuse.

Greg Bloch went on to It’s a Beautiful Day, PFM and studio work until he died.

I went on to forming projects with RSO / Clean Records: Tongue, The Stash Wagner Band (writer of ”Don’t Borgart That Joint”) and various other failed musical projects. Got into fusion and ruined my wrist.

We were part of very interesting times. We were never really ”famous” but followed by many. We were of the street.

Marco

I don't know why, but Zone 26 just popped into my head so I thought I'd do a search and found this. I was 19 so it must have been 1967. In Silverlake, at The Happening which was on the corner of Sunset & Silverlake. I think the band was there pretty often, or at least that's what I remember. We even trekked to the Santa Monica Ballroom one time to see them. They always had a great light show, and we danced all night long.While I can't remember the music now, I don't recall it sounding like these two tracks at all. In my mind it was psychedelic. I remember the electric violin. Great memories of an interesting period of time.

THE 3rd EVOLUTION – ‘Don’t Play With Me’/ ‘Gone, Gone, Gone’ (Dawn Records 306) June 1966

The Teenage Shutdown series of compilations highlighted both of these raw and crude recordings by Bronx, N.Y. group The 3rd Evolution. I’m indebted to the liners of those for the information contained in this entry.

‘Don’t Play With Me’ is a typical ‘put-down’ song of the time, obviously written by teenagers. Punkoid guitar over rumbling bass is interrupted by some energetic drumming on occasion. This side appears to have done quite well in Florida where it went Top 20 on the WLOF radio chart.
The flip ‘Gone, Gone, Gone’ is another garage winner.

line-up:

Argot Meyer (vocals)
Mike Henderson (vocals/rhythm guitar)
Manny Colon (drums)
Louis Bonilla (bass)
Ron Lupi (lead guitar)

NYC FOLK-ROCK JANGLERS

THE RAGGAMUFFINS – ’Four Days Of Rain’ / ’It Wasn’t Happening At All’ (London HUL 10134) 1967

This under appreciated group formed in New York City when singer/songwriter Tom Pacheco put together his own electric folk rock band in the wake of The Byrds success. The band probably only played in and around New York and I have read elsewhere that The Raggamuffins often played the famous hang out The Cafe Wha club in New York’s Greenwich Village.

’Four Days Of Rain’ is a Byrdsian delight with magical jangle and harmonies. Despite it’s somewhat muddy production the lush melody shines brightly in the mix.

The flip ’It Wasn’t Happening At All’ is a jaunty pop song.

In USA the 45 was released on Seville but somehow it managed to get exposure in Britain with a release on London Records.

THE RAGGAMUFFINS – ’Hate To See A Good Thing Have To Go’ / ’Parade Of Uncertainty’ (Seville 143) 1967

Seville Records put out a follow up Raggamuffins 45 later in ’67 and by now the folk rock elements had been lost in favour of a more progressive psychedelic sound.

’Hate To See A Good Thing Have To Go’ still has some jangle and tambourine bursts though, but the inclusion of brass adds to the blissful sunshine pop reverie.

The flip ’Parade Of Uncertainty’ moves into a West Coast acid rock vibe with a trippy lead guitar break, hand claps, organ and what sounds like tablas.

GLOVERSVILLE GARAGE BAND

THE EX-CELS – ’Like A Dream’ / ’Sorrow And Pain’ (Coral 62482) April 1966

’Like A Dream’ has a simplistic but memorable beat and sounds like a Troggs record. I haven’t been able to find out much about the band other than the following:

According to Fuzz, Acid And Flowers The Ex-Cels were from Gloversville, New York. However, ’Like A Dream’ was compiled on Sixties Rebellion Volume 1 and they suggested a Californian location.

’Sorrow And Pain’ was listed as a ’DJ Spotlight’ on the KAMP 1430 AM, El Centro Top 30 Survey on 13th April 1966. So maybe this is where the California connection came from. Anyone know for sure?

UPDATE 26/09/11: Local rock historian Mike Johnson sent in some information about The Ex-Cels. He confirmed that they hailed from Gloversville, NY and were previously known as The Ashley Brothers.

PSYCHEDELIA FROM GERMANY

COUNTDOWN – ‘Georgia’ / ‘Alexandrina (The Great)’ (Polydor 53 110) 1967

All I know about Countdown is that they were from Germany. But these guys wore Carnaby Street gear not those tight lederhosen things Bavarian dudes usually wear.

I’ve not been able to find out anything online or in certain reference books/fanzines I have. As far as I know the songs on this 45 have never been compiled. So they’re a mystery unless someone can shed some light on the obscure Countdown.

‘Georgia’ is a must hear slice of psychedelia. If I could post some sounds I would but unfortunately computer problems mean that’s not possible. The general sound is a German take on English ’67 psych, very similar in sound to Manfred Mann’s perfect tune ‘Up The Junction’.

The flip ‘Alexandrina (The Great)’ has a tougher sound with wah wah guitar.

MENACING HEAVY PSYCH WITH BURSTS OF FUZZ

SATRYCON – ’Leave It’ / ’Just The Two Of Us’ (Moxie Records 202) 1969

Here’s a band I know nothing about?

Moxie Records operated out of Johnstown, PA so maybe the strangely named Satrycon hailed from this region.

’Leave It’ is menacing heavy psych with bursts of fuzz complete with a freak-out climax. It has been compiled before on ’Come Fly With Us’.

I don’t have this comp but maybe there are liners giving details about the band.

The flip is an uncompiled song titled ’Just The Two Of Us’. To my ears this one has a much more commercial sound. It’s a groovy funk rock work out with a dominant hammond organ sound, backing vocals but sadly no fuzz.

update:
I saw this 45 on eBay this week (Feb 2009) with a minimum bid of $300. here’s what the seller had to say.

Very rare and hard to find garage 45 by SATRYCON titled LEAVE IT b/w JUST THE TWO OF US on MOXIE 202 in VG+ condition. Almost all copies were lost in the 1977 Johnstown Flood. This record NEVER shows up EBAY. heavy FUZZ from beginning to end.

This is only the second copy that I have had in the last 30 years and I produced this record. You may never see another one again. It has JB written on it but it is hard to see.
Seller: skitscatscooter

ACID ROCK MOVES

The HOOK – ’Son Of Fantasy’ / ’Plug Your Head In’ (UNI 55057) 1968

The Hook are possibly best known for having ex Leaves guitarist Bobby Arlin in their line-up.

On this, their first 45 for UNI The Hook serve up prime heavy psych in the Hendrix/Cream kinda bag. I’d even say these two tracks were pretty good examples of acid rock…..some blistering psych leads from Arlin on both cuts.

’Son Of Fantasy’ and ’Plug Your Head In’ were both on The Hooks debut album ’the Hook Will Grab You’ but these mono 45 mixes are different and have not appeared on any compilations thus far.

The line-up on this record was:
Bobby Arlin (guitar)
Buddy Sklar (bass)
Craig Boyd (drums)

By the time of their second album ’Hooked’ they had lost original drummer Craig Boyd who was replaced by Dale Loyola and added organist Dennis Provisor.

As you can see from the picture of The Hook (this appeared on the back of the ’Hooked’ album) all band members seemed to have embraced the hippie culture and donned way-out garments except Bobby Arlin who still wore his ’folk-rock’ look from 1966.

Trivia Time:
The Hook appeared on TV Show Ironside in an episode called ’Trip To Hashbury’.

Both songs on this UNI 45 featured heavily in drug fuelled party scenes at a hippie den in Haight-Ashbury. The air date of the episode was on 21/03/68 (season 1, episode 26)….I’ve got The Hook scenes on DVD and they’re killer.

BUFFALO, NY GROUP

The ROGUES – ’Say You Love Me’ / ’Secondary Man’ (Thunderbird Records 507) 1967

The Rogues hailed from Buffalo, New York and were the same Rogues that released the awesome folk punk jangler ’You Better Look Now’ on Audition in 1966. Check it out on Teenage Shutdown Volume 5. The R’n’B rave up ’Train Kept A Rollin’ can be heard on Teenage Shutdown Volume 14.

Back to this 45 on Thunderbird. Here The Rogues sound like a completely different band than on their earlier offering. The A-Side ’Say You Love Me’ is a straight 60s pop song in the style of The Association.

Their song ’Windy’ comes to mind. It still remains uncompiled but I’ll be giving it a run out on Gear! 10.

The excellent flip ’Secondary Man’ was compiled on my comp ’Timelapse Jangle’. Its a magical slice of Beatlesesque ’Revolver’ era psychedelia with stunning backwards tape effects.

My Rogues Gallery can be found here

One of my cyber friends sent me this related information about The Rogues.

Just wanted to call your attention to the songwriterz ”Calandra/Mallaber” on The Rogues single. Tom Calandra waz the bass player in another Buffalo band RAVEN, who cut a couple of singlez and an album for Columbia Recordz.

A live album recorded at local club The Inferno also waz released on a small label Discovery Recordz by a former manager. Gary Mallaber waz the drummer in thiz same band and went on to major fame playing with Van Morrison (Moondance) and the Steve Miller Band among otherz.

Tom Calandra (now deceased) waz a very close friend of mine and I know Gary also. Currently he iz drumming for the Chicago Bluez Reunion project with Harvey Mandel, etc. Thought I’d send you some trivia.
Best alwayz—-

OBSCURE 45 FROM PITTSBURGH PA

The PEOPLE – ’Fantasy In Jade’ / ’Lady Parker’ (Dash 708) 1967

All I know about The People is that they were NOT the same People who had a small hit with ’I Love You’. These People on the small Dash label are undocumented and unknown. So if anyone has any information be sure to let me know.

’Fantasy In Jade’ has that special 60s West Coast laid back psychedelic approach with male/female vocals and sounds to me to be treading the same trippy path as The Jefferson Airplane were following on Surrealistic Pillow. It starts off slow paced and doesn’t pick up until it ends in a flurry of fuzz, then is gone.

’Lady Parker’ is another slow paced psycher with female lead vocals. This one is weird as shit. Totally acid and way out. Only the West Coast of USA produced this kinda bag.

The address on the label states Sunset Blvd, Hollywood. So I’m guessing that they were from Los Angeles. Both songs have writer credits Fetsko-DeBor-Brucker.

Updates from readers:
Pressed in Cincinnati, Ohio by Rite Records at the end of ’67.

This is my group and songs, recorded in Pittsburgh PA in 1967. I’m happy you like the music, odd as it is. I now record under the name dsfečo. My latest EP, Watch It Sparkle, is available on Amazon, http://amzn.com/B00VF6K4PE

FOLK-ROCK JANGLER FROM '66

THE OFF-SET – ’You’re A Drag’ / ’Little Girl, Little Boy’ (Brent 7053) 1966

Very obscure release on the Brent label, so much so that no entry for this band exists in Fuzz, Acid and Flowers. Also a quick check on the net revealed no information and they’ve never troubled the compilers.

’You’re A Drag’, written by Don Sallah is a memorable folk rocker with jangly guitar and loud bouncy bass runs. This tune rocks in a similar way to those early Turtles sides. It’s also got some great ’put-down’ lines. My favourite being,

’This whole scene is fixed
You don’t even exist
You’re a drag’.

The flip ’Little Girl, Little Boy’ sounds like a pre Beatles era teener pop song. For 1966 this is just so outta touch and leads me to believe that The Off-Set were a studio incarnation.

This song was written by Randy Irwin – Vinny Testa and self produced (label states a Vin-Ran Production)

Thursday, September 22, 2022

ACID REVOLVER - EPISODE 01

Thursday, September 15, 2022

LISTEN-IN REVIEWS

DANNY BAKER WENT TO BURY PUBLIC IMAGE BUT CAME BACK TO PRAISE THEM

I WONDERED HOW THEY FELT ABOUT THEIR OWN REPUTATION.

AND DEAR OLD PUNK ROCK?

PUBLIC IMAGE LTD – “DEATH DISCO” / “NO BIRDS DO SING” (VIRGIN VS 274) JUNE 1979

GUITARS SCRATCH AWAY LIKE RATS

THE SEX PISTOLS – “MY WAY” / “THE BIGGEST BLOW (A PUNK PRAYER BY RONNIE BIGGS)” (VIRGIN VS 220) JUNE 1978

SWINDLE

THE SEX PISTOLS – “SILLY THING” / “WHO KILLED BAMBI” (VIRGIN VS256) APRIL 1979

THE SEX PISTOLS – “HOLIDAYS IN THE SUN” / “SATELLITE” (VIRGIN VS-191) OCTOBER 1977

POLITICAL POLARISATION

“NEVER MIND THE BOLLOCKS, HERE’S THE SEX PISTOLS” (VIRGIN V 2086) OCTOBER 1977

THE SEX PISTOLS ALBUM!

SUBMISSION

MENTAL RETARD

THE SEX PISTOLS – “GOD SAVE THE QUEEN” / “DID YOU NO WRONG” (VIRGIN VS 181) MAY 1977

NO FUTURE

THE SEX PISTOLS – “HOLIDAYS IN THE SUN” / “SATELLITE” (VIRGIN VS-191) OCTOBER 1977

POLITICAL POLARISATION

THE SEX PISTOLS – “C’MON EVERYBODY” / “THE GOD SAVE THE QUEEN SYMPHONY” (VIRGIN VS272) JUNE 1979

PUNK’S SLOGANS ARE:

THE SEX PISTOLS – “MY WAY” / “THE BIGGEST BLOW (A PUNK PRAYER BY RONNIE BIGGS)” (VIRGIN VS 220) JUNE 1978

SWINDLE

THE SEX PISTOLS – “PRETTY VACANT” / “NO FUN” (VIRGIN VS 184) JULY 1977

MEMORIES

MEDIA BACKLASH

JOSEF K – “PICTURES” / “CHANCE MEETING” (POSTCARD 81-5) MAY 1981

JUNIOR & THE COUNTS

THE BOOMTOWN RATS – “MARY OF THE 4TH FORM” / “DO THE RAT” (ENSIGN ENY 9) NOVEMBER 1977

HARD DRIVING FEELGOOD’S DERIVED

IAN DURY & THE BLOCKHEADS – “SWEET GENE VINCENT” / “YOU’RE MORE THAN FAIR” (STIFF BUY 23) NOVEMBER 1977

GENE VINCENT’S DEATH

THE POLICE – “SO LONELY” / “NO TIME THIS TIME” (A&M AMS 7402) OCTOBER 1978

BLONDIE – “UNION CITY BLUE” / “LIVING IN THE REAL WORLD” (CHRYSALIS CHS 2400) NOVEMBER 1979

UNION CITY BLUE FILM

THE SKIDS – “CHARADE” / “GREY PARADE” (VIRGIN VS 288) SEPTEMBER 1979

JUMPSUIT

NAZI IDEOLOGY

THE POLICE – “WALKING ON THE MOON” / “VISIONS OF THE NIGHT” (A&M AMS 7494) NOVEMBER 1979

AN UNDENIABLE SERENADE

THE JAM – “DAVID WATTS” / “A” BOMB IN WARDOUR STREET” (POLYDOR 2059 054) AUGUST 1978

THE GREEN TELESCOPE – TWO BY TWO EP (IMAGINARY RECORDS 001) 1985

UPDATE

THE INMATES – “THE WALK” / “TALKIN’ WOMAN” (RADAR ADA 47) NOVEMBER 1979

THE PRETENDERS – “BRASS IN POCKET” / “SWINGING LONDON” / “NERVOUS BUT SHY” (A REAL RECORDING ARE 11) NOVEMBER 1979

GURU WANNABE

PUBLIC IMAGE LTD – “DEATH DISCO” / “NO BIRDS DO SING” (VIRGIN VS 274) JUNE 1979

GUITARS SCRATCH AWAY LIKE RATS

THE PAISLEY UNDERGROUND

THE JAM – “THE ETON RIFLES” / “SEE-SAW” (POLYDOR POSP 83) OCTOBER 1979

VENOMOUS BUT MELODIC

THE VAPORS – “PRISONERS” / “SUNSTROKE” (UNITED ARTISTS BP 321) OCTOBER 1979

BLONDIE – “DREAMING” / “SOUND ASLEEP” (CHRYSALIS CHS 2350) SEPTEMBER 1979

HER PRODUCT HORMONES ARE ALWAYS AT IT

STIFF LITTLE FINGERS – “STRAW DOGS” / “YOU CAN’T SAY CRAP ON THE RADIO” (CHRYSALIS CHS-2368) SEPTEMBER 1979

THE UNDERTONES – “HERE COMES THE SUMMER” / “ONE WAY LOVE” / “TOP TWENTY” (SIRE RECORDS SIR 4022) JULY 1979

BORROWS RIFF FROM ‘LAST TRAIN TO CLARKSVILLE

THE BUZZCOCKS – “HARMONY IN MY HEAD” / “SOMETHING’S GONE WRONG AGAIN” (UNITED ARTISTS UP 36541) JULY 1979

RADIO, LIVE TRANSMISSION

PSYCHEDELICSEX KICKS

AN IN DEPTH STUDY OF ONE OF ENGLAND'S MOST PROLIFIC GARAGE BANDS

THE UNDERTONES – “JIMMY JIMMY” / “MARS BARS” (SIRE SIR 4015) APRIL 1979

HI-FI STORAGE

AUDIOLAB 8300A

THE SEX PISTOLS – “SILLY THING” / “WHO KILLED BAMBI” (VIRGIN VS256) APRIL 1979

GENERATION X – ‘VALLEY OF THE DOLLS’ / ‘SHAKIN’ ALL OVER’ (CHRYSALIS CHS 2310) MARCH 1979

THE CLASH – “ENGLISH CIVIL WAR” (JOHNNY COMES MARCHING HOME) / “PRESSURE DROP” (CBS 7082) MARCH 1979

SIOUXSIE & THE BANSHEES – “THE STAIRCASE (MYSTERY)” / “20TH CENTURY BOY” (POLYDOR POSP 9) APRIL 1979

TRUE CONFESSIONS

CARNATIONS

THE STRANGLERS – ‘(GET A) GRIP (ON YOURSELF)’/’LONDON LADY’ (UNITED ARTISTS UP 36211) FEBRUARY 1977

CAPPED-TOOTH SMOOTHIE

PUBLIC IMAGE LTD – “PUBLIC IMAGE” / “THE COWBOY SONG” (VIRGIN VS 228) OCTOBER 1978

EXPO67 HQ SOUND GALLERY

OFFICIAL RE-RELEASE

’60S DUTCH BEAT

DR FEELGOOD – “MILK AND ALCOHOL” / “EVERY KIND OF VICE” (UNITED ARTISTS UAG 30184) JANUARY 1979