Sunday, 12 February 2017

The Saturday Record Shopping Run

There is often talk of how much better life was in the past, and how it would be a dream to return to those halcyon days.
Really? A return to power cuts, 3 day weeks, strikes, smog, ricketts ...
Maybe that's taking it a bit far, but the one thing the past did do better was Record Shops.
Last week, HMV Canada announced that it was closing it's stores nationwide.  Now, I don't know about the competition or record buying habits of Canadians, but do recall in the UK when it looked like HMV was going down the pan, it was close to having very few outlets for Music on the High Street - bar the independent stores (which are always worth a visit), buying music on the High Street is a tricky affair.

Not so many years ago in the time of my youth (yes, I feel very old writing those words!).

I was about 11 (maybe 11 and a half, detail is important at that age) when I started to buy my own records.  These purchases were always parent-accompanied, and enabled by pocket money and any other cash gifts that came my way (grandparents, birthday money, a sudden rash of parental indulgence/benevolence).
Just before my 14th birthday I landed a paper round - I was now earning my own money, and was granted enough trust to go into the town by myself (or at least with friends).
A couple of months later, I got a second paper round - I now had one in the morning and one in the evening - and also delivered, and collected money, for Charity booklets once a month.
All this income (well ,nearly all of it) went over the counters of the Record Shops of Reading.

Saturday Mornings involved a strict routine of counting up the paper round collection money, extracting my wages, going up the road to the newsagent to get paid for the other paper round, bus into town and start shopping.
After a weeks research of Radio 1, Smash Hits, Record Mirror, Sounds, Kerrang (or whatever music magazine I had bought) and recommendations from friends, I had a pretty good idea of at least one single and album that I wanted to get my grubby mitts on, but the joy of browsing and discovery cannot be ignored for the sake of firm plans.

Being a creature of habit, I always alighted from the bus at the same stop and went straight to the nearest shop - a small, but perfectly stocked branch of Our Price.
This was the first stop on a habitual route march around all the record shops - noting prices and stock, and then a return run making the preferred purchases.
The route was always:
  • Our Price (Butts Centre)
    Small, but rarely full and usually turned up a few surprises not seen in the other shops
  • Listen Records (Butts Centre - upstairs)
    Independent shop - specialists in Rock and Heavy Metal.  Always busy, always loud and a 14 year old felt very "grown up" going in there.  Brilliant shop - sadly it closed down in 1992 as a result of the Rough Trade distribution collapse
  • Our Price (Broad Street)
    Bigger than the Butts Centre branch over 2 floors, yet conversely seemed to carry less depth of stock, and the people that worked there didn't seem as knowledgeable about what they were selling
  • Woolworth
    Was there ever a time Woolworth didn't have a sale on?  Always woth a look, especially around the time of stock-checks when they'd cleared their storerooms out
  • Boots
    Not famously known for their music retailing, but often had cheaper prices for chart stuff than anywhere else
  • NSS Newsagents
    Another not known for its music retail prowess, but plenty of odd / interesting stock, import records and brand new old records (ie stuff still in the shrinkwrap from about 1978).  It was also the first record shop in Reading that I can remember selling these new fangled CD things.
  • WHSmith
    Magazines at the front, Record section at the back.  This meant you could pick up a copy of the NME and a shaped picture disc in one shop, and emerge on the other main shopping street of the town - if feeling peckish, there was also a McDonalds next door (and/or a Burger King 3 doors down)
A quick right turn and a quarter of a mile walk would bring me to the shop more responsible than any other for (a) giving me a musical education, and (b) feeding an ever growing vinyl addiction.
  • Pop Records - a second hand shop, with 2 branches (and if it wasn't raining or the specific record I wanted was in the second shop, a detour would be incorporated into the route).
    The shop was best described as "organised chaos", coupled with the aroma that will fever be defined as "the ideal record shop smell" (musty vinyl, slight whiff of damp, coffee and cigarette smoke).  The usual A to Z browsing racks surrounded the walls, one central island for 7" singles, boxes and crates placed under these racks, and piles of unpriced and unsorted records all over the counter and around the floor space leading to the counter.  Of course, this was a time before Fire Safety Regulations meaning a clear evacuation path had to be left at all times.
    Prices were set at Albums for £1 to £4 (depending on condition (obviously), and singles ranged from 25p to £2.  At either end of this pricing spectrum were the collectable items - usually stored behind the counter, or hung in the wall inside PVC sleeves, or the disorganised crates where albums and singles could be found for as little as 10p.

Starting work brought more money to spend than 2 paper rounds, but the route remained the same.
Over time, the traditional route shortened as Our Price consolidated into one shop, WHSmith and Woolworths underwent refurbishment and re-opened with smaller record sections, Boots went back to flogging make-up and hairdryers, and NSS Newsagents closed down.

And then came some dreadful news - Pop Records was closing down.  It's two shops were to be demolished as Reading town centre underwent a major re-vamp (one shop stood on the intended site for the Oracle Shopping Centre, and the other was a victim of road re-organisation.
As both these shops were (sort of) out of the town centre, the rent was presumably lower, but with nowhere else to go the owner decided to sell-up and close down.

Fortuitously, as Pop Records closed, another second-hand goldmine opened.  The Record Basement was another second-hand shop which had been opened for a few years at the other end of the town.  I visited it a couple of times, but it's main stock was Dance music (not my thing) - but when it moved premises near the Station, it sub-let the back of the shop to another trader who carried stock more to my taste (indeed, some of the stock bore the recognisable Pop Records price tags.

Record Basement became an integral part of the itinerary.  But with many of the old haunts now closing, the route was destined to become shorter, and possibly not so fruitful.

But wait ... by this stage, Reading had got it's own HMV store.
Yes - HMV the stuff of pre-planned expensive trips to London.  These trips would also involve visits to Virgin Megastore, Tower Records and the record shops of Berwick Street and surrounding areas.  I even bought a CD once in Harrods, just so I could say I bought something in Harrods.
And now Reading had it's own proper store. HMV had been in Reading before, opening as the HMV Micro shop selling computer games, and then as a relatively small store, but now here was a much larger store over two floors with stuff on the shelves never seen before in deepest Berkshire.
And to top things off, in the next couple of years, a Virgin Megastore opened too.

The Saturday Record Run remained, however there was one big problem for me: a new family meant there wasn't quite enough disposable income to (in the words of my wife and family) pointlessly fritter away on un-necessary items - most of my purchases came from the supermarket.  HMV and Virgin did get a visit, but this was probably (at best) monthly.

The Saturday Record Shopping Run was consigned to history - it still happened, but not with enough regularity to define it as a "tradition" anymore.

The rise of the internet, and the ease of purchasing from Amazon further consigned the Record Run to the past.  The final nail was probably the collapse of Zavvi, and the continuing diversification of HMV into a retailer that didn't seem to have a clue what it's core product was anymore.
With the high street market free from competition, it was really difficult to understand why HMV became such a shadow of it's former self.  OK, it couldn't truly compete on pricing with on-line retailers, but it had the presence and visibility, staff were often knowledgeable and helpful - what went wrong?
It went into administration in 2013, but was saved from complete closure and went through a period of restructuring, downsizing and streamlining.
I can happily report that the HMV stores I have visited recently are not quite as laughable as they were in the recent past, and do seem to be getting back to being a "must visit" shop, not just a "must visit for old times sake" shop.

Most of my purchasing is now done from the seat that I am sitting in at the moment - it's quick, easy, and usually cheaper than HMV can offer it for.  This is supplemented by (at least) monthly visits to the three local independent stores near me, and regular visits to Charity Shops (in the hope (rather than expectation) of finding something interesting.

But I do miss the traipsing up and down the same streets, through the same doors, seeing the same faces and idly flicking through the racks looking for inspiration and that unexplainable moment of joy when you find something new, interesting, or something you've been looking out for for months (or possibly even years, or decades)

Sunday, 22 January 2017

Is it possible to grow up without knowing who The Beatles were?

The Beatles never existed in my lifetime.
If we cite the end of The Beatles as Paul McCartneys announcement in April 1970, then this was still 3 months until I appeared in the world.
(OK, the "exact" date is open to debate, and arguably the dissolution may not come until Paul McCartney's law suit issue on 31 December 1970, or even the final ruling to dissolve the partnership in January 1975.  If we take either of these dates, then my opening statement is absolute bunk)

Did this mean anything?  Did it make a difference to my life?  It seemed that the break up of arguably the biggest band in the world was met with an almost instant consignment to history.  I don't think I heard a note from the band or indeed even knew they existed until late 1977, or more likely even later.
It's fair to say that I didn't grow up in the most musical of households - my earliest musical memories are Jimmy Young on Radio 2, Abba, The Carpenters and not much else.
But I still think it odd that 5 or 6 years after the biggest, best selling, most popular band in the UK split up they were rarely (if ever) heard on Radio or TV.
My own daughters younger years soundtrack included Sex Pistols, T.Rex, The Jam, The Who, and many other bands long since demised (although this probably says more about what their father inflicted upon them, rather than their choice).

I recall seeing a late 1977 episode of Top Of The Pops featuring the massive selling "Mull Of Kintyre", but no connection to The Beatles was mentioned, or even understood.
Scroll forward 3 years, and news reports were all over the TV about the shooting of a bloke called John Lennon who used to be in The Beatles.
This was probably the first time that I'd:
(a) heard the name The Beatles
(b) heard a note played by the band
(c) seen what they looked like
(d) recognised the bloke playing the bass as the one wandering around a scottish beach being followed by bag-pipers.

So now I (sort of) knew who The Beatles were, and thanks to a Teacher at school (we were talking about the News and she was explaining who John Lennon was) and knew a bit about their history too.
All good to know, but my mind was pre-occupied by West Ham's current performance in the league, trying to score my 100th playground goal of the season and Roy Race's unexplained dip in form for Melchester Rovers.  As a result of my busy schedule (I was also learning to ride my bike with no hands), this knowledge was not pursued any further.

On holiday in 1981, I'd seen a TV Film called The Birth Of The Beatles, so knew a little bit more about them, but still rarely (if ever) heard their songs on the radio (apart from some brief excerpts as part of "Stars On 45").
But that changed in May 1982 with the release of the single "The Beatles Movie Medley".  This single was a mix of the songs  "Magical Mystery Tour", "All You Need Is Love", "You've Got to Hide Your Love Away", "I Should Have Known Better", "A Hard Day's Night", "Ticket to Ride" and "Get Back", strung together in a Stars on 45 style (of which there were about 9 million variants doing the rounds in 1981/82).
I was now a seasoned single buyer having been buying them (at least) monthly since January the previous year and I proudly owned more than 20 7" singles, and one album.
On hearing the Movie Medley, I was determined to add this to the already impressive collection.  Having saved pocket money, and as part of our family's bi-weekly trip to Town, we went to WHSmiths so I could spend my money on the only things that mattered - a copy of Shoot! and a 7" single.
I chose the single and showed my mum my choice before I went to pay for it:
"Why do you want to buy that old music for?  I've got that at home on an album"
"What? ... You've got a Beatles album?  What is it?  What's it called?  What else is on it?  Can I borrow it?" (I think I got a bit excited).
We went to the album racks and found the album '1962-66' (aka The Red Album).
26 tracks which I'd never heard, and never even knew the album existed in the same house as me.
And then, in a typical act of childhood belligerence, I said something like "Ahh ... but this album hasn't got 4 of these tracks on, so I'd better buy the single too". And I did, despite my mum probably muttering something like "OK, you waste your money if you want to.  I've tried to help, but you think you know better ...."

Returning home, I extricated the Red Album from the records under the sideboard, and went to my bedroom for some listening time.
I'm sure I played my new single first, and was no doubt as thrilled to finally own this piece of plastic.  I do honestly remember the feeling of disappointment though when I dropped the needle on Side 1 Track 1 of the Red Album - "Love Me Do" just didn't seem as exciting as "Magical Mystery Tour" or "I Should Have Known Better".  Never mind, this was soon cured by the sound of "Please Please Me" and "From Me To You".
I played that album so often I knew every word, every scratch, every note.  I would walk around telling people I was a Beatles fan, even though I only knew about the first phase of their career and even then probably less than 10% of their catalogue.

And one of those unexplained, moments of coincidence occurred - my new favourite band were approaching the 20th Anniversary of their first single release.
"Love Me Do" was re-released in August 1962, 20 years to the day of it's original release.  Now, "Love Me Do" was still my least favourite song by the band, but the singles re-release meant I had to buy it.  And I did - this being the 80s, it was available as a Picture Disc so I bought that one.

And then (or at least according to my memory, around the same time), BBC2 had a Beatles Night showing footage and film of the band (one of the films may have been the US Compleat Beatles, but I can't honestly remember)

My record buying habit increased at a pace the following year as a result of Paper Round(s), increased Pocket Money, and the freedom to visit Town on my own (ie not relying on parents to transport me and accompany round the steaming metropolis of Reading Town Centre).
Jumble Sales also became a key activity to the extension of the record collection.  The Jumble Sale visits, combined with a well stocked second hand record shop brought more and more Beatles singles into my ownership (many were the 1976 re-issues in green sleeves, some where US versions on Capitol).  I now realised there was more to this band than 1962-66.  The Red Albums sibling (1967-70 (aka The Blue Album) was purchased for the pricely sum of £1, and like my introduction via the Red Album, I played this one to within an inch of it's life too).
I really was The Beatles biggest fan, and knew everything about them.  Or did I ...

Also in 1983, Siouxsie and The Banshees released a cover of "Dear Prudence" *,  Radio 1 Breakfast DJ bloke, Mike Read, informed me that this was a cover version of a track from The White Album.
I decided at that point that 'The White Album' was my favourite album of all-time (despite not owning it), and spoke at great length to anyone who would listen about it.
I sought out the album on a visit to Our Price soon after.  Sadly, 20 quid for an album in late 1983, on a paper boys salary was completely in-affordable.  I put the album on the list of "Stuff I MUST buy (one day)", and went back to the bluff and bluster and pretense.

* "Dear Prudence", along with Big Country's "Chance" and "Apache" was one of the first things I learnt to play on guitar (if I'm honest, my repertoire hasn't expanded that much since)

In 1986, I bought the book '100 Greatest Albums' which declared Sgt Pepper as number 1 - as I recall every other Beatles album also appeared somewhere in the list.
Whilst I owned most of the singles, and two compilations, and spurred on by some strange quest to buy every album in that there book, I purchased my first proper Beatles album.
It was number 1 in the list, so 'Sgt. Peppers Lonely Hearts Club Band' is not going to disappoint, is it?

Well ... it did.
Maybe I didn't get it, maybe I missed the point.  "Sgt. Pepper's Lonely Hearts Club Band" and "A Day in the Life" were undoubtedly top tracks, but the rest of it felt a bit flat, unexpected and un-Beatle-like.
As a studio exercise, and proof of what you can do with the (admittedly arcane, at the time) technology in the studio, this album at the time was head and shoulders above everything (with the possible exception of 'Pet Sounds' (but I hadn't heard that at the time).
As a musical exercise, I don't think it was all there - time and context would change this opinion (but I still stand firm and say it isn't their best work).

1987 marked the 20th Anniversary of Sgt Pepper, and was celebrated with an hour long documentary on ITV.  This may have been the beginnings of the return of The Beatles to the public consciousness.
But still they were absent from the radio and TV.

The story goes that Glen Matlock was allegedly sacked from the Sex Pistols committing some form of musical heresy by liking The Beatles.  This suggests that The Beatles, only 7 years after their demise, were perceived as "massively uncool"
Is it any wonder then that Paul Weller kept his Beatles obsession hidden for so long - The Who and The Kinks often cited, but the Fabs were rarely mentioned.  Early photos of the band with Weller playing a Hofner bass, the choice of Rickenbacker guitars (equally a nod to Lennon as to Pete Townsend), the inclusion of "Slow Down" on their debut album (covered by The Beatles on Long Tall Sally EP), a studio outtake of "And Your Bird Can Sing".  All the clues were there, but no mention of The Beatles made.

And, in my mind, that 20th Anniversary of Sgt Pepper was the turning point.
Paul McCartney was back on stage playing Beatles songs, George Harrison was undergoing something of a commercial re-birth with the Jeff Lynne produced 'Cloud Nine' (and in particular the Beatles-evoking "When We Was Fab"), and Ringo was narrating Thomas The Tank Engine.

Granted it was a slow-ish return to omnipresence, and no doubt slightly exaggerated in my mind by buying more of their albums (and 10 years after declaring it as my favourite album ever, I finally owned a copy of The White Album).

A surprise, of sorts, occurred in 1992 when "Instant Karma" was used on a Nike advert.
This was the first time I'd heard a Beatles, or in this case, Beatles-related tune used in any form of advertising.  The years of Business confusion and protectionism seemed to be dissipating.
I quite enjoyed the personal smugness of it - I knew the John Lennon track ,and owned the album.  Friends remarked that it was "a brilliant track" and "they'd never heard it before".
Amongst my friends I adopted the mantle of Teacher (or Beatles-bore) and gave anyone who was interested (and/or not interested) chapter and verse (or as much as I knew) of the Beatles story, the music, the solo years (including "Mull Of Kintyre" which everyone knew about).

A few years later (1995), the Anthology series was released (preceded by the "Free As A Bird" single).  This documentary series, whilst not perfect, re-told The Beatles story for a new audience and ensured that The Beatles legacy was restored in the mind of the public.
1995 was also the middle of the Britpop era - Paul Weller (perceived as some form of Britpop Elder/Godfather figure) no longer hid his Beatles influences going so far as nicking the Dear Prudence riff (and/or ELO's 10538 Overture) for 'The Changingman'.
Another Britpop statesman, Noel Gallagher, never hid his influences going so far as declaring Oasis sound is made up of 4 albums: Never Mind The Bollocks, The Wall and The Beatles Red and Blue Albums.
The debt to The Beatles was further cemented when Noel Gallagher, Paul Weller and Paul McCartney recorded "Come Together" (as The Smokin Mojo Filters) for the War Child charity album 'Help'.

The Anthology series proved one thing - there is nothing left in the vaults, meaning there is no more "new" Beatles product to come.
So be it, but the ongoing re-configuration/re-releasing of the catalogue often proves to be strangely alluring.
The '1' compilation?  A collection of The Beatles Number One singles - I've got all these on '1962-66', '1967-70', and 'Past Masters Volume 1 & 2' - but I still bought it.
The 'Love' album?  Re-mixed by George Martin and featuring mash-ups and alternative takes of the various tracks used.  Yup, I bought that one too (I just "felt" I had to own it)
And the events of 09/09/09 when the entire back catalogue was remastered and re-released in both Stereo and Mono format, including the boxset versions 'Beatles In Mono' and 'Beatles In Stereo'

I sometimes wonder just what the musical landscape may have been like if Paul McCartney decided not to go to Woolton Village Fete on 6th July 1957.
It is quite possible that many of the historical landmarks would still have happened (JFK, England winning the World Cup, Man walking on the moon, Star Wars, Test Tube Babies, the fall of the Berlin Wall, a dog winning Britains Got Talent), but the musical landscape, development and lineage would, in all probability be vastly different.

Assuming the London Blues boom became the dominant force, instead of Mersey Beat, bands like The Rolling Stones, The Who and The Kinks would've traversed the 60s with less competition.
Bob Dylan would've still been Bob Dylan, would've still gone electric and would still be on tour.  Similarly, The Beach Boys would've spread summer happiness, but may never have released 'Pet Sounds' (inspired by 'Rubber Soul') and Brian Wilson would probably remained this side of sanity because he didn't create 'Smile' to out-do 'Revolver'.
The Soul & Reggae genres would also be largely untouched and would've developed the same way (although Otis Redding would've had two less songs to cover, and Booker T and The MGs would've released one less album).

And then there is the lineage of British Pop & Rock music:
No British Invasion
No Slade
No Jam
No Britpop

and, most likely, bands controlled and manufactured by promoters (the obvious example being Larry Parnes, and all those who would've undoubtedly followed him), producers and record companies
(at least that doesn't happen anymore ... or does it?)

Is it possible to grow up without knowing who The Beatles are?
Yes, I managed it.  I suppose that not having that knowledge in the first place meant I never actually missed them at the time.  But this also meant a lot of catching up in later years.

Maybe, just maybe (and to prevent other childhoods being deprived), The Beatles should be included in National Curriculum - everyone should feel the excitement of dropping the needle on side 1 track 1 of their debut album 'Please Please Me' and hearing "1 - 2 -3 - 4 ... Well she was just seventeen ..."
(surely a contender for the greatest album opener ever).

Saturday, 31 December 2016

It's The Only Poll That Matters - The Stuff & Nonsense Top 12 of 2016 (and other sundry enthusiasms)

Yup, I too have been struck by the general air of malaise doing the rounds in the past 12 months.
Here's hoping that 2017 will be a brighter proposition - although is 24 hours going to make that much difference.

The biggest observation of 2016 was the return of my own anti-Midas touch where everything I touched seemed to turn to sh*t.
If I'm honest there wasn't a great deal of new stuff that enthused me musically, televisually, bookularly or DVDularly.
Most of the year was spent listening to and buying old stuff that I'd either missed before, never got round to owning or taking a punt on something that looked interesting.
Most of the time it proved to be a winner, and very few of my purchases turned out to be clunkers destined to spend the rest of their existence filed away gathering dust.
The other main thing that I indulged in this year was scowling (that may be too strong a term) and becoming exasperated that supermarkets muscled in on the hipster-esque craze for all things vinyl and started stocking the stuff.  Not in huge quantities, but enough to make you stop your weekly shop and have a little browse.
Anyway after much exasperation, I too joined the throng and purchased a couple of these sought after items.  How could I turn down the opportunity to own my ninth copy of 'Never Mind The Bollocks' (eleventh if you include the 2 CD versions).
I did though avoid the copy of The Specials in Tesco where they had punctured the sleeve with the security tag - what were they thinking?

As said above, musically the offerings were scant for me, but the 12 below (and other bits & bobs) ensured my lugholes were thoroughly entertained.

1. Steve Mason - Meet The Humans
Steve Mason has seemingly distilled all previous work into this one album and come up with an absolute winner.  This album matches anything he has done previously solo or with the Beta Band, and is more focussed, with a real air of joy about it (especially the opening track "Alive").
OK, the presence of Craig Potter in the producers chair does cause echoes of Elbow-ness, but this work is singularly unique but totally accessible.
Recorded by anyone else and with greater promotion the album would have, and deserves, a much wider audience
[more ...]

2. White Denim - Stiff
A real "back to basics" slab of 70s American Rock with hints of ZZ Top, Cream, The Doobie Brothers and Wild Cherry, with added Curtis Mayfield and Blaxploitation moments.
The riffs are huge, the sound chunky and funky - the whole album demands to be played loud, and repeated several times.

3. Madness - Can't Touch Us Now
They're back - this is the de facto followu-up to Norton Folgate after the mis-step of 'Oui Oui Si Si Ja Ja Da Da'
Opening in the comfort of their recognisable trademark "plinky plonk" piano and saxophone blasts & honks, this album shows that Madness continue to mix upbeat bouncing tunes with sometimes darker subject matter.
My only concern with Madness is that their "Nutty Boys" image may well detract from their acceptance into the lexicon of Great British Songwriters.
[more ...]

4. P J Harvey - The Hope Six Demolition Project
Always took a long time to "get" Polly's out-pourings - sometime I never "got" them at all - this one was a straight in (OK, it took a couple of listens).  At the risk of sounding like a muso-journo her most accessible release.  Simplistic impressions here are a touch of Patti Smith mixed with a touch of Kate Bush - but always recognisably P J Harvey.
The combination of music and lyrics is sometimes bleak, sometimes brittle, sometimes forceful and (almost) angry, but always strikingly honest - she is saying what she has seen, with no compunction to provide a solution merely to make you think about it (or not)

5. Whitney - Light Upon The Lake
Another album with a 70s undertone - this is more in the Byrds / Band / Americana frame, with a bit of Big Star chucked in.
Melodic and sometimes melancholy, but with more ups than downs to ensure your ears are feasted.  It is bright, summery, and has a general feel good vibe about it

6. Field Music - Commontime
Here's another one of those "didn't get it straightaway" albums.  Pleasant enough on fiest listening, but maybe not a candidate for this Top 12 (or 10 or 17 or whatever number I decided on).
But wait, repeated listening and a shift of expectations proved this one not to be an ignored dust collector.  The Steely Dan comparisons seem to be a legal requirement of any review I've read, but there is more than just this - a real summery soundtrack of an album (so why did they release it in February?)
[more ...]

7. Primal Scream - Chaosmosis
Bobby Gillespie continues to do what he wants and makes a near return to Screamadelica territory, and then pulling in different bits of his back catalogue, and coming up with another winner - it may not be totally coherent, or have a common theme, but it does the job.  Do Primal Scream ever release a duff album?  This album may not be "life changing" or banging on the door of the Top 100 ... Ever, but they are always satisfying.

8. Bruce Foxton - Smash The Clock
From The Jam are the foremost Jam tribute act, and when you've got the original Bass player you should be.
Made with his From The Jam band mates (primarily Russel Hastings providing the vocal and guitar) this album shows that performing on the tribute circuit cannot dampen your desire to produce something new and original.  There are moments when you feel you could be listening to a lost Jam album (post The Gift) and there is a heady mix of mix of Motown and Northern Soul with a twist of Dr Feelgood, The Kinks and The Small Faces.
[more ...]

9. Metallica - Hardwired To Self Destruct
Metallica doing what they did best make a triumphant return to their past and (hopefully) prove to themselves that they don't need to be all clever, atmospheric a, navel gazing to produce a corking album.  OK, it may be a bit overlong, and could probably benefit from some editing down to a single album, but there is plenty here to make you want to return again and again.
Easily their best since the Black album, and should win back much of the older audience (ie me) clamouring/hoping for a return to their greatest moments

10. Brian Eno - The Ship
Eno does what Eno wants - and pretty much every album he releases is different.  A mew sound here, a new collage/experiment there, and rarely does he disappoint.  Whack this album on, sit back for 40 minutes and let it wash over you - do not try an do anything whilst this is playing.  It may be ambient in intent, but is not background music to accompany your chosen activity.
At the risk of sounding like a nerdy-sheeplike-Hipster, go fro the vinyl version - there is something added to the overall experience of Side 1 and Side 2 with a little break in the middle.

11. Iggy Pop - Post Pop Depression
Has Iggy released a truly great album since 'The Idiot' or 'Lust For Life'?
He has now - thanks in no small part to Josh Homme.
I'll be honest, this one took a lot of listening for the penny to drop - glad it did though.
Listening to this post-Blackstar, it sounded like Iggy's own personal tribute to his former sparring partner - perhaps a combination of both timing and a faint re-tread/re-imaging of the albums.

12. David Bowie - Blackstar
This is not propping the list up due to some sort of "Everyone else is saying it's brilliant, and he died this year so I need to make mention of it" way.
This album is sitting in position number 12 because it is the twelfth most enjoyable album I bought in 2016.
Like Iggy above, not an immediate winner, but repeated listening bore fruit.
David Bowie albums are always unique affairs giving an insight to where his head is at that moment in time.  This one was no different, and we all know what happened next ...

Disappointment: Suede - Night Thoughts
And I was hoping for so much more - proof that you can't always get what you want.  By no means a bad album, I just wasn't hooked by it.  Can't truly explain why - maybe I should give it another couple of listens

Live: Stiff Little Fingers - Best Served Loud
This recording of their 25th successive Glasgow Barrowlands show is brimming with energy - I am not being biased (honest!) when I say if you are going to see just one Live band, make it Stiff Little Fingers

Discovery (about time too): Big Star
Big Star's 'Radio City' has been an ever-present in those Top 100 Albums You Must Listen To Before You Snuff It - but beyond "September Gurls" I'd never heard anything.
Until this year when annoyed with my tardiness, I purchased the double CD ('#1 Record' and 'Radio City') coupled with the DVD Documentary 'Nothing Can Hurt Me'.
Nothing else entered the CD Player for about a fortnight.  My considered opinion is that 'Radio City' deserves it's place on those lists, but '#1 Record' is even better.

Discovery (taking a punt): Hybrid Kids
Inspired by the DIY ethos of Punk, ex Mott The Hoople keyboard-ist retreated to his Notting Hill flat and assembled tape loops and cut-ups of well known songs performed by imagined bands from Peabody, Texas.
Who would not want to hear "Macarthur Park" done by a Two Tone band, The Sex Pistols covered by Pinky and Perky or The Wurzels doing "Wuthering Heights".  Top rank silliness, and all done by hand with no sequencers or studio trickery.

Box Set: Action Time Vision - A Story of UK Independent Punk 1976-1979
A 4 CD collection of the earliest outputs the soon to be big The Damned, Stiff Little Fingers, The Ruts, Angelic Upstarts, 999, Skids, Sham 69, UK Subs, Cockney Rejects, The Rezillos, The Adicts, The Boys, The Lurkers, Alternative TV, The Members, Chelsea), early outings from Joy Division, Tubeway Army, Adam & The Ants, and the "one single wonders" like Nicky & The Dots, Suspects, Steroid Kiddies, Pure Hell, The Cravats or Woody & The Splinters.
Not every track here is a gem, but every single one of the bands had the desire and want to go into a studio and record themselves for posterity (even if it was only 500 copies).
This “Time Capsule” shows that those that “made it” were once at the same level as those whose sole offering is amongst the tracks here.
Without wishing to belittle or malign any of the contributions here, the feeling that comes from this 4 Disk Set is: Never Mind The Quality, Feel The Energy

DVD: Oasis - Supersonic
A documentary of the bands early years from formation to signing to Creation to playing to 250,000 at Knebworth.  An honest appraisal of the band themselves, their abilities and their failings.
The one big surprise that you only notice in retrospect is it all happened so quickly.  I have read reviews suggesting that people may not be as interested in what happened next - if anything, the confusion, in-fighting and eventual downfall may well make for an even better film

Friday, 4 November 2016

Madness - Can't Touch Us Now

When a band has been doing the rounds for nigh on 40 years releases a new album, the obvious questions arise:
  • Have they still "got it"? (whatever "it" is)
  • Will this new collection be a worthy entry in their catalogue?
  • Are they just trading on past glories?
Yes, Yes and No (but also Yes (confusingly))

Over 38 years and 12 albums (including an 11 year hiatus) they've rarely released a duff album.  Even 1988s The Madness has (thanks to the distance of time and expectation) redeeming qualities. 1999s 'Wonderful' marked a return - it was good but sadly relied on point 3 above perhaps too much.
Scroll forward another 10 years, and the magnificent 'Liberty Of Norton Folgate' cemented their return, and at the same time their place as continuing that line of Great British Songwriters and Performers (I hesitate to say "National Treasures", but it does fit).
2012s 'Oui Oui, Si Si, Ja Ja, Da Da' was perhaps a slight wrong turning, but this new one is (in my mind) the de facto follow-up to Norton Folgate.

Right from the start, this is Madness doing what they do best.  Telling stories of life around them, their experiences (and imagined experiences) against a musical base of of Ska/Soul/Motown (with added Pub Rock and a whiff of the Fairground) against a backdrop of Ealing comedies, and a touch of darkness thrown in for good measure.  The plinky-plonk piano, greasy saxophone and urgency and sometimes over enunciated vocals are all present and correct.  Even when they make political comment (as they do on "Mumbo Jumbo") or consider Religion ("I Believe") it's still done with an uplifting beat.

There is a slight re-visit of the past on opener "Can't Touch Us Now" where the middle section is a slight re-visit of "Shut Up".  And from there on you know you are in comfortable territory.
"Mr Apples" and "Herbert" are story telling of the highest order, and "Blackbird" recounts a brief meeting with Amy Winehouse.
There is "Classic Madness" throughout the album particularly on the Western stylings of "Grand Slam" and "Don't Leave The Past Behind You" (this track is the most insistent and will be stuck in your brain for days).  There's even space for a ballad(?) in the shape of "You Are My Everything" - an almost spoken word statement of commitment that is neither soppy or sappy.
The past is (sort of) revisitied again with the doleful "Pam The Hawk" being a close cousin of "One Better Day".  This song could have just been mournful , but the lyrics and delivery ensure that is not the way - Yes, it is sorrowful, but not uncomfortable.
The closing track is a marvelous piece of nonsense called "Whistle In The Dark" which sounds like a left over, or forgotten track, from Norton Folgate.

The album was recorded live in an 8 Track studio - and they have made it clear that it was done the old fashioned way, with no ProTools or trickery going on.  And furthering the "analogue" nature (and because that's what everyone does now) the album is also available as a Vinyl edition.  And therein lies my only real complaint.  The CD has 16 tracks, the vinyl trims this to 12 losing "Another Version Of Me", "Don't Let Them Catch You Crying", "Given The Opportunity" and "Soul Denying".

There is plenty here that could comfortably sit in their live set alongside "Baggy Trousers", "One Step Beyond", "The Sun and The Rain" or "NW5".
This is Madness moving forward, but recognising what made them so long lived,  They have distilled their essence of the past 38 years into this album.  I admit that it's not their greatest offering (I think that honour falls to Norton Folgate or The Rise & Fall), but there is a craft and energy and honesty in this album that cannot be denied.  It deserves, and rewards, repeated listening.
Madness albums of old have a continuing lure that demands they be replayed, and this one is no different.

Sunday, 18 September 2016

40 Years Of Punk - 1977

"In 1977 I hope I go to heaven ...
... No Elvis, Beatles, or The Rolling Stones"

So sang an ex-Pub Rocker who'd had an epiphany whilst watching the Sex Pistols, an ex-member of London SS, and a bass player with a love of reggae how exuded cool and attitude".
This was The Clash and, after the birthing of Punk, there were high hopes for the new year.

If 1976 was it's birth, and 1978 considered to be Punk death throes, then 1977 can be defined as it's lifetime, or can it?
1977 is often hailed as the year of Punk, but I contend that by the Summer Punk as a "concept" (at least in it's original form) was all but over.  It had started to splinter into various sub-forms, it became a catch all term for anything with a guitar and the slightest bit of attitude or difference from the norm, and as a result of media mis-reporting and major record label involvement, became a parody/cartoon of itself.

Following the Sex Pistols Bill Grundy Interview, Punk, or at least "the concept" of Punk became part of common vocabulary.
The mass media focussed clearly on the scandal angle, often enhancing stories to include fighting on stage, vomiting at airports and generally behaving obnoxiously.
The major record labels, always looking for a quick buck, started signing anything and anything in sight that appeared to be vaguely "Punk".

In January 1977, Buzzcocks released their debut EP Spiral Scratch - it was entirely self financed and self distributed.  This record embraced the DIY ethic to the full by being the first truly independent record released with no backing from record companies.  This release signalled a change to the Business Model and showed other smaller bands that if they could raise £500, they too could have their own record.
Record Companies started firstly sh*tting themselves when it became clear that they weren't actually needed, and it was possible for small bands to release their own records, retaining full control of their material and their destiny.  And then they started wetting themselves and signing up everything vaguely "Punk", in the hope of finding the next "big thing" and turning a quick buck.
The major labels were now getting in on the act (despite EMIs bad experience with the Sex Pistols).
The Clash signed to CBS, Buzzcocks and The Stranglers with United Artists, and (not really punk, but caught up in it) The Jam got a deal with Polydor (they missed out signing the Pistols so moved the world to sign The Jam (albeit on the cheap)).  The Pistols themselves found a deal at A&M, briefly.  Their contract was cancelled (sacked?) less than a fortnight later, and ended up on Virgin.

The Damned completed another "first" when in February they released the first UK Punk album ('Damned Damned Damned'), and by the end of March they were the first Punk Band to tour America.

By middle of year,  Punk as a musical genre is re-invented under the catch-all term New Wave, encompassing all those artists that were on the periphery and then caught up in it all as Record labels and the media indulged in "blanket" labelling which really didn't fit.
Artists like The Jam, Elvis Costello, Graham Parker whilst buying into, or portraying the attitude and ethos, just weren't in the same league as the original (and emerging Punks) but had received a massive leg-up by the whole movement.  Even old pub rockers like Dr Feelgood (whose lead singer had loaned the money to start Stiff Records) and Nick Lowe (Stiff's "in house" producer) came to the attention of more than 23 people in  the Tally Ho pub.
This revision of genre also meant the US bands, operating a similar attitude and sometimes viewed as progenitors for UK Punk were gaining airplay and media write-ups.  Bands like Blondie, Talking Heads and Television who share little DNA with the UK Punks, but are now happily mentioned in the same paragraph.
Arguably, The Clash, and probably The Stranglers, sat more in this group of artists than they did with the "standard" Punk set as they offered a broader musical view than many of their contemporaries.

Spring of 1977 saw debut albums from The Clash, The Stranglers and The Jam.
Bands were forming all over the country, with The Skids in Scotland and Stiff Little Fingers in Northern Ireland.  A tougher sounding version was being presented by the likes of UK Subs, Sham 69, 999, Angelic Upstarts (this sound and outlook would give rise to the terms "Street Punk" and "Oi" which would form the basis of (what is now referred to as) the Second Wave Of Punk the following year.)
And Punk (or New Wave, or whatever it was now being called) was getting all political with the sloganeering of The Clash. the anrcharcistic beliefs of Crass and the socio-political reportage (against a hybrid Punk, Funk, Dub soundscape) of the Gang Of Four.  And Wire did something else with the Punk template, by expanding it further and creating a sort of Post-Punk sound before Punk was even ended (so how can you be Post-(something) when you're still in phase one?).

June 1977 marked the Silver Jubilee.  Now with a Record Label, the Sex Pistols (without the "sacked" Glen Matlock, and now featuring the "musically limited" Sid Vicious on bass) released "God Save The Queen".  This song dates from late 1976, and was written by John Lydon with no clue that the Silver Jubilee was about to take place (well, I believe him).
The apparent dis-respect shown caused another bout of knicker wetting in the media, and calls for all those involved with the band, the record label, or Punk in general to be shunned and brought to justice as traitors.
The record was banned by the BBC, other radio stations followed suit and refused to play it (at least within "normal programming times") and record shops refused to stock the treasonous article.
What happens when the BBC bans a record?  It starts to sell in huge quantities, which is exactly what happened - although buyers probably had to visit 2 or 3 shops before they found a supply of this illicit item.
There have been many accusations/suggestions that the charts were rigged to prevent "God Save The Queen" being Number 1.
The truth may never be fully uncovered - but in an interview (somewhere?) Richard Branson has said that he was in regular contact with the Chart compilers, and Rod Stewart was indeed outselling the Sex Pistols in that week.  So no rigging involved - but it does make a better story.
This was only their second single in 6 months, and the (possibly) most recognised and acknowledged "leaders" were lagging behind their peers in terms of product.

Punks by association (ie they were there at the start, and played the 100 Club Festival), The Vibrators released their debut album 'Pure Mania' in July.  When it comes to a review of 1977, The Vibrators offering is often forgotten.
And another non-Punk, but caught up in it all Elvis Costello released his debut at around the same time.

By August, the band responsible for (a) bringing the Sex Pistols outside of London, and (b) releasing the first independent single, signed to a major label (United Artists).  In a moment of coincidence and tivia, their signing took place on the day that Elvis Presley finally left the building (or did he?).
August also saw the release of a new album (the second of 1977) from Iggy Pop.  'Lust For Life' cemented his position of a "Godfather of Punk" and is hailed as one of the best of his solo career.

Just to prove how far Punk had burrowed it's way into the mainstream, the BBC had Derek Nimmo visit Seditionaries in late summer, and asked "so what is Punk?".
This clash of cultures, Nationwide-esque Light Entertainment versus the (apparent) underground shows that Punk as a concept was now public property, and destined (in the eyes of mass media) to now be nothing more than a "uniform" and, as mentioned above, a cartoon and a parody of itself.

September saw The Stranglers released their second album ('No More Heroes')', Billy Idol issued his first recorded sneering in the same month with Generation X debut single "Your Generation" (also featuring ex-London SS member Tony James), and The Boomtown Rats unleashed their debut album (which was more Rolling Stones on Speed than Punk, but hey if it's got a loud guitar on it, it's Punk.  Isn't it?)
Also this month, a mysterious bootleg started appearing in record shops around West London - titled 'Spunk' this was a rough and ready recording of Sex Pistols material dating back to late 76/early 77.  There are some suggestions that this was done deliberately by Malcolm McLaren to either fill the gap of demand for Sex Pistols album, scupper the "official" release of the debut by Virgin Records the following month, or just being awkward and obtuse.  McLaren, of course, denied any involvement, but how could anyone but Glitterbest (McLarens company) get there hands on the original tapes, and why would Lyntone (the Pressing Plant who manufactured the record) risk their reputation and UK-wide contracts with Major Labels by pressing a Bootleg?

'Never Mind The Bollocks' was officially released in October and became the Number 1 selling album in the country, despite further bans and stores refusing to handle the record because of the "colourful" phrase used in the title.
But was it a Punk album?
 Call it what you like, the album is one of the greatest Rock albums ever made.

The Damned released their second album of the year in November ("Music For Pleasure" and then achieved another "first" by becoming the first Punk band to split up (another "first" would happen in early 1978 when they became the first Punk band to reform).

Was 1977 the Year Of Punk?
Well, a lot happened, many records were released, and it certainly entered the nationwide conscious.  But consider the content of the charts and output of Radio and TV.  A great many punk records were played, but did they really clear out the old order and place this new form of expression at the forefront of the nations mind?
Not if the Christmas Number One spot and Best Sellers lists were to be believed.
1977 ended with the release of Saturday Night Fever, pre-empting the rise of Disco in 1978, and the strains of Wings "Mull Of Kintyre" at the Christmas Number 1 spot, and the annual totting up of sales figures showed how much Punk had changed the musical landscape in the previous 12 months:

Best Selling Albums:
1. Abba - Arrival
2. Shadows - Golden Greats
3. Diana Ross -20 Golden Greats
4. A Star Is Born -  Soundtrack
5. Fleetwood Mac - Rumours

Best Selling Singles:
1. David Soul - Don't Give Up On Us
2. Julie Covington - Don't Cry For Me Argentina
3. Leo Sayer - When I Need You
4. David Soul - Silver Lady
5. Abba - Knowing Me Knowing You

OK, sales figures aren't the be-all and end-all of the story, and they are not going to show the seismic effect and attitude shift that came in the following years.
But despite all retrospective beliefs, 1977 was not the Year of Punk, it did not clear away all the old dinosaurs, and the only ones who did go to heaven that year were Elvis Presley, Marc Bolan, Bing Crosby and Charlie Chaplin (and others, obviously, but you get the point (hopefully ...))

Punk (as a music genre) was beloved of the inky music papers, and largely ignored (apart from the shock/horror or the Derek Nimmo type cartoon reporting) by the mainstream media.
An alternative gauge would be the NME Year End lists:

1. Heroes - David Bowie
2. New Boots & Panties - Ian Dury
3. My Aim Is True - Elvis Costello
4. Never Mind the Bollocks - Sex Pistols
5. Marquee Moon - Television
6. Exodus - Bob Marley & the Wailers
7. The Clash - The Clash
8. Lust for Life - Iggy Pop
9. Leave Home - The Ramones
10. Rattus Norvegicus - The Stranglers

1. Pretty Vacant - Sex Pistols
2. Watching The Detectives - Elvis Costello
3. Sex & Drugs & Rock 'N' Roll - Ian Dury
4. God Save the Queen - Sex Pistols
5. Sheena Is A Punk Rocker - The Ramones
6. Heroes - David Bowie
7. 2 4 6 8 Motorway - Tom Robinson Band
8. Waiting in Vain - Bob Marley & The Wailers
9. Do Anything You Wanna Do - The Rods
10. Alison - Elvis Costello

Full List:

This maybe a slightly unfair comparison, as the NME was the prime Music paper, and it's readers were going to be "into" Punk.  Deeper investigation of this charts content shows the whilst Punk certainly had an effect on readers listening, it was now co-existing (on equal footing) with established artists such as Bob Marley, Steely Dan and John Martyn.
In short, it was just another genre for peoples record collections to enjoy.

There is no doubt, and all the evidence suggests so, that Punk came of age in 1977, but it's legacy would be further reaching than a group of teenagers hanging around West London in early 1976 could've ever imagined.

Wednesday, 24 August 2016

40 Years Of Punk - In The Beginning ...

This Year marks the 40th Anniversary of Punk.
There are a number of events taking place in London which are, perhaps belatedly, recognising what happened in 1976 (and after) - from the outside, it does appear to me that these celebrations seem to be suggesting that it was a lot "bigger" than it actually was.
In terms of actual numbers of people, as stated, this was relatively few.
In terms of time (existence) it was relatively short before it all splintered, fell apart and became a cartoon pastiche of itself.
But in terms of influence, whilst not incalculable, Punks tentacles went a long way.

But what is Punk?

Is it a musical style? A fashion? An attitude? A media invention?

It is probably all of these things, and also none of these things.
Confused?  Yes, so am I.

When did it start?
Personally, I don't think there is a single defining moment which says "From this moment on, Punk exists".  Similarly, I don't think there is an end point either.
There are a number of "defining moments" at the start (and the end) - none of them can be said to actually pin-point a starting position.  Without trying to be pseudo intellectual about it, one cannot ignore the political climate of the times, with ongoing strikes and rising inflation, and suggest that Punk (as it came to be defined) was a response by a "dis-affected youth" to create something to call their own, and provide them with some hope for the future, or at the very least a diversion from what was going on.  Careful though, Punk was only a small number of people - there were many who existed between 1975 and 1978/9 largely unaffected by the whole thing.

By late 1974, Glam Rock was effectively over, becoming a media circus of glitter and recycled 50s Rock n Roll riffs.  The singles charts of 1975 were intrinsically safe, and teenagers felt a growing detachment from the music on offer.  It was either the virtuoso, navel gazing of the Prog Rockers (this is not a 100% true statement, but helps move the story along) or the comfortable safety of Brotherhood Of Man, The Wurzels and J J Barrie.

Something had to give ... sooner or later

Surely there must be A moment?
  • November 1973: New York Dolls on The Old Grey Whistle Test (and Whispering Bob Harris's description as "Mock Rock"
  • Early 1974: London band The Strand convince Malcolm McLaren to help out with Rehearsal space and support
  • March 1975: London SS, a loose collective of a band featuring many members with a love of The Stooges, MC5.  Although they never played a gig, recorded or even had a stable line-up, their influence is often mentioned in hushed tones (primarily due to the members it did have and where they ended up)
  • May 1975: Malcolm McLaren returns from America after overseeing the end of the New York Dolls and presents thThe Strand guitarist, Steve Jones, with Sylvain Sylvain's white Gibson Les Paul.
  • August 1975: John Lydon joins The Strand, and they are renamed the Sex Pistols.
  • April 1976: Ramones debut album released
  • June 1976: Sex Pistols play Manchester Lesser Free Trade Hall
  • July 1976: Ramones play the Roundhouse & Dingwalls
  • July 1976: First issue of Sniffin' Glue published
  • September 1976: Punk Festival at the 100 Club (featuring: Subway Sect, Siouxsie and the Banshees, The Clash, Sex Pistols, Stinky Toys, Chris Spedding & The Vibrators, The Damned and Buzzcocks over 2 nights)
  • October 1976: The Damned release "New Rose" - generally accepted as the first Punk single
  • November 1976: Sex Pistols release "Anarchy In The UK"
  • December 1976: Sex Pistols appear on the Bill Grundy TV Show.
In amongst all that lot, and some other events not listed, is probably the moment Punk started.

So, none the wiser of why it happened, maybe we can understand where it happened.
There is a strong argument that says it came from New York - this is borne out by the presence of The Ramones, McLarens involvement with the New York Dolls, and the well documented goings on at CBGBs and Max's Kansas City.
Whilst there may be some in-direct influence (The Dictators, Patti Smith, Televison, Richard Hell) I do not believe that the New York scene is directly responsible for what happened in the UK.

To identify a specific "where", I would cite West London and specifically the far end of the Kings Road.  Even more specifically, Number 430 Kings Road.
The importance of 430 Kings Road cannot be underestimated, but it should be remembered that it was NOT the birthplace of Punk (despite what Malcolm McLaren would like you to believe)
McLaren opened his first shop at this address in 1971.  The prime trade was Teddy Boy clothingand old Rock n Roll records catering to the growing trend for "all things 1950s".  With the help of his then girlfriend Vivienne Westwood, Let It Rock (as the shop became known) started repairing old clothes and making copies of old designs.
Let It Rock, latterly renamed Too Fast To Live Too Young To Die, became something of a "go to" place for anyone looking for some sought after item of retro clothing, or just to "hang out" and listen to the well stocked Jukebox.
In late 1974, the shop was renamed SEX and the stock changed to a sort of "anti-fashion" with Shock being the prime component.  The crowds stayed (again due to the Jukebox and the (generally) relaxed nature of the shop).
McLaren, fresh from his failure/success (delete as applicable) with the New York Dolls, and still managing/guiding a local band called The Strand saw a potential link between his anti-fashion statements and music.  He found The Strand a new Bass Player in the shape of SEX's Saturday Assistant, and auditioned in the shop for a singer.
With the Jukebox playing Alice Cooper's "I'm Eighteen", John Lydon joined up with Glen Matlock (the bass player) and Steve Jones & Paul Cook to become the Sex Pistols.
They weren't the first Punk band (nor were they the last), but much of what came next (certainly in the eyes of popular belief) does hinge around the Pistols.

Also on the Kings Road was another shop of comparable importance.
ACME Attractions was seen as a (possibly) cheaper alternative to the high pricing of Vivienne Westwood originals.
Acme Attractions was managed by Don Letts, who provided 2 key elements of the London Punk Story.  Using his Super 8 Camera, he began filming anything of potential importance in the Pubs, Clubs, Parties and Shops.  This footage would eventually be immotalised  into the Punk Rock Movie.  The second element Letts brought was his love of Roots and Dub Reggae.
Acme Attractions also spawned the first Punk Club in the shape of Accountant Andrew Czezowski, who opened The Roxy in Convent Garden on New Years Day 1977 (there had already been 3 Club Nights previously in December, but this was the "official" opening, headlined by The Clash and The Heartbreakers).
And this is where Don Letts comes back into it ... there were no real Punk records at the time, Letts, as resident DJ, filled with the club with his own selection of Dub Reggae.

So London had the shops, the people and the venues (famous venues (of varying size) include: 100 Club, The Roxy, Nashville Ballroom, The Marquee, The Rainbow, Dingwalls, The Hope & Anchor, The Red Cow, The Marquee, The Votex and The Music Machine), but was it really all London-centric?

Manchester can lay claim to being equally as important in the birthing of Punk.
It was here that one of the most famous gigs took place, and if the claimants are to be believed was attended by about 150,000 people.
The 4 June 1976 show at the Lesser Free Trade Hall was organised by Howard Devoto and Pete Shelley.  Devoto and Shelley had travelled to London to see the Sex Pistols, and invited them to come up the M6 to play at Bolton College.  The venue was changed to the Lesser Free Trade Hall, and the Sex Pistols played their first shows in the North of England.
The actual attendance was nearer 150, but it is believed that just about everyone who was there formed a band that night.
In the audience that night were: Howard Devoto, Pete Shelley (Buzzcocks), Steve Diggle (soon to join Buzzcocks), Peter Hook, Bernard Sumner (Joy Division), Mark E Smith (The Fall).  Also in attendance were Morrissey, Mick Hucknall, Paul Morley (soon to be NME journo) and Tony Wilson (of Factory Records).

Punk was happening, even if it was on a relatively small scale, featuring a small number of people, and operating primarily by word of mouth, with no real media intervention.

Until ...

The Sex Pistols were signed to EMI in October 1976, and released their debut single "Anarchy In The UK" in November.
A promotional slot became available on a Thames Television evening magazine show hosted by Bill Grundy.  EMI were originally intending to send Queen, but they were unavailable so the record company sent their latest charges.
A very refreshed Sex Pistols, complete with entourage, were interviewed (through gritted teeth, with Bill Grundy barely able to hide his contempt).
A mixture of alcohol and boredom set in, and without thinking John Lydon replied to a question saying "that's just their tough shit".  When asked what he had said, John replied "Nothing, A rude word!".  He was pushed to repeat himself, which he did so (albeit with a look of shame and realisation what he had said about him).  The remainder of the interview is basically Bill Grundy goading the band, particularly Steve Jones to say "something outrageous".
OK, this was a local London TV show and the audience would've been quite small, but the following morning, the story filled the front pages.

The Sex Pistols, accompanied by  The Clash, The Heartbreakers and (briefly) The Damned were about to start their fist nationwide Tour (The Anarchu In The UK Tour), but after the Grundy incident found towns full of protest and demands that the bands "audition" before the local Councils would grant a licence.
Unable to play , The Damned soon left the Tour, but the others continued in the face of intense Media coverage was intense and cancellations ensured that of the origianlly planend 20 dates, no more than 7 were actually fulfilled (some reports suggest only 3 shows were actually completed unhindered by local and national press attention.

This is surely one of the pivotal moments when Punk became known to the wider masses.
But was it the beginning of the end, or the end of the beginning.

My opinion?  Both.
A small underground movement became known to the wider populace, thereby legitimising it's existence.
But also, that same underground movement was perhaps best suited to being a small underground movement (or at least a niche affair?).
The press coverage and the Record Company attention turned it into something that it wasn't ...

But only a fool would turn down the attention and riches in the name of artistic integrity, especially when you're aged less than 21.

It has been suggested that the first Punk record was "New Rose" by The Damned, and certainly in the UK it was the first of any notable distribution and availability.
There is an argument that says that "I'm Stranded" by Australian band The Saints was in actual fact the first Punk record, being released in Australia in June 1976.  Some copies did make it to Britain, but it was not initially available in big numbers.
I think, in the spirit of compromise, I will declare that both of these records are the first Punk singles

The Saints - I'm Stranded

The Damned - New Rose

Next up: 1977 And All That

Saturday, 28 May 2016

Bruce Foxton - Smash The Clock

Playing in his own tribute band (From The Jam) is obviously going to have an effect on your own output.  As is the fact that having spent 5 years recording with The Jam (were they the biggest band in Britain at the time? very probably) means your legacy is assured.  It is also a fact of life that Bruce Foxton on his own has never really achieved the heights, or the acclaim, that perhaps his contribution to the aforementioned "Biggest Band In Britain 1979 to 1982" deserves.
His first solo album proper. 'The Freak', was good but not exactly indispensable.  His record company seemed to share this belief, and no more product was forthcoming.  He kept playing solo and in small club bands, and then in 1990 landed the vacant Bass post in Stiff Little Fingers.
He stayed with SLF until 2006, when he left to join The Casbah Club Bruce Watson, Mark Brzezicki and Simon Townshend (he'd been playing with the band since 2004, but now became a full time member).
A year later he moved from The Casbah Club to link up with Rick Buckler and Russell Hastings in tribute band The Gift, which who were subsequently re-titled From The Jam.  A 66.6% reformation led to a plethora of rumours of a full blown reformation.  To be honest, neither Bruce Foxton or Rick Buckler were on speaking terms with Paul Weller at this time, so this is as close to a reformation as would ever occur.
The loss of Foxton's wife in 2009, and his attendance at JohnWeller's funeral in the same year led to a reconciliation with Paul Weller, and an appearance on two tracks on Weller's 2010 album 'Wake Up The Nation'.
Depending on the version of the story you believe, this action either drove a wedge between Foxton and Buckler, or Buckler became disillusioned when he realised that From The Jam would never result in a full blown Jam reformation, and he departed from the band.

But ... once an artist, always an artist, and in addition to the standard From The Jam set, new music (created with vocalist/co-writer Russell Hastings) crept it's way into the set, and in 2012 Bruce Foxton released his second solo album, 'Back In The Room'.  Backed by his From The Jam cohorts (the drum stool now being filled by Mark Brzezicki), the album featured guest appearances from Steve Norman, Steve Cropper and Paul Weller.  To complete the "potential reformation" rumours, the album was also recorded at Paul Weller's Black Barn Studios.

And so to this - his third solo album, funded through Pledge Music (as was 'Back In The Room'), and again recorded at Black Barn Studios.

From The Jam vocalist Russell Hastings is all present and correct here, and his vocal sound is so close to that of Paul Weller, you would be forgiven for thinking that maybe, just may be, the unthinkable has happened and this is The Jam's sixth album.
The presence of Paul Weller on a couple of tracks, and a couple more of the tracks sounding like they could sit comfortably on PWs 'Stanley Road' or 'Heavy Soul' certainly re-inforce this notion, but that is unfair and too simplistic a statement about this album.
The music is a mix of anglicised Motown and Northern Soul with a nod to The Kinks, The Small Faces, Dr Feelgood and even a dash of Jethro Tull.

The High Fidelity Rules Of Making A Mix Tape are adhered to here (ie start with something that grabs their attention), with opener "Now The Time Has Come" bursting to life with a drum roll before the horns kicks in.  Back to that unwanted comparison, this does sound like it was a missing track from 'The Gift' - a fine, fine opener with some fine bassmanship (what else would you expect?) from Mr Foxton.
"Round and Round" starts in a mellow blaxploitation funk mode before chorus burst out and then returns to the groove.  The mellow mood continues on "Pictures and Diamonds" with added psychadelic dreaminess.  The track is built on a rolling Hammond Organ riff an features the guitar work of the studio's owner.
"Louder" is acoustic based, and the comparisons continue with a Style Council vibe very much in evidence.
It may purely as a result of the title but there is a Small Faces meets The Jam (and even a touch of Madness) feel about "Sunday Morning", complete with it's horn section and Barrelhouse piano.  Make no mistake this is one of the most accessible, immediate and memorable songs here.
"Full Circle" opens with Paul Jones harmonica and Wilko Johnsons guitar - on the face of it, it sounds like a lost Dr Feelgood track with Paul Weller's vocal (this is a good thing!).
If you play a Rickenbaker, you can't help but produce a chord sound reminiscent of 1978/79 Jam, and many of the Mod Revival bands that followed.  And that is what you get on title track "Smash The Clock".  The addition of saxophone lifts the track into unexpected territory.  On first listening, it is the most disposable track here, and then furtherlistening elevates it to one of the key tracks of the whole offering.
Paul Jones harmonica is back for "Back Street, Dead Street" - a full blown rocker that speeds along, and just makes you want to jump up and down, or at the very least nod your head (or maybe that is just me?).
The musical backdrop changes again for "Writing On The Wall" stating with a Maggie May-esque acoustic riff.  It has a definite Folk root, and is almost Rod Stewart/Faces tunage with Paul Weller singing over the top (this may be down to the influence of the opening guitar motif, but I can't get away from the feeling).
From there, it is back to the mellow acoustic wistful dreaminess for the "There Are Times To Make Me Happy", and then a return to the driving Rock n Soul (is that a genre?) for "All Right Now" complete with liberal application of Hammond organ.
"Running Away From You" starts almost melancholic, but soon builds to a virtual anthem.  To be brutally frank, this is probably the weakest track for me, but not that weak that you want to hit the Skip button.
Album closer is the instrumental "50 Yards Down Sandy Lane" which re-visits the mellow mood, this time with added flute, and closes the album off in fine style.

This is all new, all good, but still rooted in comfort - a thoroughly enjoyable and entertaining 35 minutes, with riffs, lyrics and bits of songs remaining in your head for days - much like going to a From The Jam show.