Cars are one of the mainstay of Rock n Roll lyrics.
From The Beach Boys "Little Deuce Coupe", "And she'll have fun fun fun, 'Til her daddy takes the T-Bird away" to Bruce Springsteen ("Thunder Road", "Racing In The Streets(just about every song that isn't about blue collar workers and /or their relationships).
The Beatles weighed in with "Drive My Car" whilst Status Quo responded with "Don't Drive My Car".
The Clash watched as their baby drove off in a Brand New Cadillac, and Gary Numan felt safest of all in his Car.
Prince had a small red Corvette (this is not a euphemism), whilst Bruce Springsteen was resplendent in his Pink Cadillac.
Queen drummer Roger Taylor expressed his love for his vehicle, and Janis Joplin merely dreampt of owning a Mercedes Benz.
Even Marc Bolan (who couldn't drive) offered "Mustang Ford" and stated that he "drove a Rolls Royce. 'cos its good for my voice".
In terms of aftercare, all the above could've paid a visit to Rose Royce who would've given them a thorough clean at the Car Wash (they may never get rich, but its better than digging a ditch).
But what of more common, possibly less romantic car marques?
Is there a song somewhere immortalising the life changing impact of owning a Vauxhall Viva? or maybe a crooning love-letter to a Datsun Cherry?
There is however one of these lesser cherished vehicles which has made its way into popular song - step forward John Shuttleworth and his Y Registration Austin Ambassador.
Now you may laugh and think he is just a one-dimensional creation singing about the mundane, mediocre and insular moments that affect his world. But you would be wrong when you consider the heartbreak and frustration conveyed in a song such as "Two Margarines On The Go" or the quandary faced at meal times when you've eaten your main course, tucked into dessert, and then a second helping of the truly delectable main course becomes available (as outlined in "I Can't Go Back To Savoury Now")
"New" - a new or current album
"Old" - a previous release (possibly lost in the mists of time)
"New-New" - a new or current album from an artist that is unfamiliar to you (either partially (ie you know the name and what they sound like) or completely (ie never heard of them)
"New-Old" - a new or current album from an artist you know well
"Old-New" - a previous release from an artist that is unfamiliar to you
"Old-Old" - a previous release from an artist know well
This is, perhaps, a simplistic classification method. Indeed, you could further the classification with an additional "New"/"Old" referring to ownership/purchase status - but to be honest it all starts to get confusing than (as if it wasn't already?)
OK, the last 12 months has thrown up a variety of "New-New" and "Old-New", and I've now run out of "New-Old". So now it time for "Old-Old".
The next step is to stand in front of the shelves for a minute and wait for inspiration.
First off the racks:
Marillion - Misplaced Childhood
Aylesbury may sound like a non-descript, mudane, home-counties town, but was home to one of the most popular live venues (Friars, which has hosted performances by Free, Mott The Hoople, David Bowie, Genesis, The Police, Stiff Little Fingers and many many others). It is also the hometown of John Otway, and in 1979 spawned the first incarnation of Marillion.
Formed in 1979 and taking their name from a J R R Tolkien book (how much more Prog can you get?) bu guitarist Steve Rothery and drummer Mick Pointer. Derek Dick (better known as Fish to save sniggering at his surname) joined on vocals in 1981. Mark Kelly (keyboards) and Pete Trewavas (bass) completed the line-up.
The band played Genesis/Pink Floyd/Van Der Graff Generator/Peter Hammill infused Prog Rock - probably not the wisest move against a backdrop of NWOBHM, Post-Punk New Wave, New Romantics and developing Synthesiser music and increased studio production techniques.
Probably not an immediately obvious recipe for success, but exposure, and positive reaction, on Tommy Vance's Friday Rock Show led to EMI taking a punt.
First single "Market Square Heroes" was released in late 1982. Whilst the A-Side was more of an anthemic (almost air-punching) rock track, the B Side showed Proggy-pretensions with the 17 minute "Grendel".
Their debut album 'Script For A Jesters Tear' came out in early 1983 and continued the musical backdrop - 6 tracks around the 7 or 8 minute mark was not necessarily the order of the day for most albums in 1983. For the two singles culled from the album ("He Knows You Know" (the shortest track at 5:30) and "Chelsea Monday" it was necessary to edit the songs down to 4 minutes to make them palatable for radio play.)
The second album was titled 'Fugazi' (1984) - the name can be translated as being derived from fugacious meaning fading or transient, or a military slang term for f**ked up.
This is perhaps a reflection of the lead up to the recording of the album with original drummer Mick Pointer leaving, and a succession of drummers auditioned before Ian Mosely got the job, and the number of studios utlised in order to get the job finished.
This album squeezes in 7 tracks, but is ultimately not as good as the debut. It just doesn't feel as focussed as the debut. Later in the year though, the Live album 'Real to Reel' was released which showed just how strong the band were on stage.
Also on this tour, Fish announced that the bands next album was to have only two tracks, entitled "Side One" and "Side Two".
The outline story/concept was the result of a 12 hour acid trip, where Fish faced up to lost childhood memories, failed relationships, the impact of becoming successful, loss of inspiration and, as is the way with all good stories, ultimate redemption. Effortlessly strung together, and featuring recurring musical motifs. Drop the needle and Side One, Track One and you'll be happy to stay until the end of Side 2, Track 5 - it is a great way to spend 40 minutes, and on CD it feels even more seamless.
At the outset, EMI expressed concern about the bad going all "70s Prog" and recording a concept album. These fears were alleviated when initial single "Kayleigh" hit number 2 in the UK Singles Chart.
The album starts with a spoken passage which (sort of) outlines the story, before the now familiar guitar opening for lead single "Kayleigh". This segues into the second single "Lavender" (which also hit the Top 10). In a departure for Marillion, this song had to be extended to make it into a single.
"Bitter Suite" is a 5 part movement combining atmospheric music (there is a touch of the Pink Floyd about it) under spoken poetry ("Brief Encounter"), developing into sung lyric ("Lost Weekend") before reprising the guitar motif from "Lavender", the melody (or a close approximation) is also revisited for "Blue Angel". "Misplaced Rendezvous" tells a downbeat tale of a lost relationship, before rolling into another spoken passage which serves as an intro to the third single lifted from the album, "Heart Of Lothian". This is a nationalistic track, and perhaps the strongest of the straight-ahead rock songs on the album. Personally, I think it is the strongest of he three lifted singles, but performed the worst (shows you what I know then?). (if you haven't got a CD player, now is the time to get up and turn the record over (unless you've got one of those super-duper, fangly-dangly 1980s record players which could play both sides with no human intervention)
An atmospheric keyboard introduction followed by pummeling drums opens up into a full on rock song with impassioned, almost snarling vocals, crashing cymbals and guitar histrionics. "Lords Of The Backstage" kicks in maintaining the rock sound, although the vocal is more toned down. Cynically, the instrumental nature of the song feels like it was written as purely a linking passage with lyrics added to keep the momentum of the story. This may not be the case, but it does segue into "Blind Curve", possibly the most complex and ambitious and potentially epic track on the album.
Again built on 5 parts. "Vocal Under A Bloodlight" is another tale of lost (or possibly unrequited love). "Passing Strangers" is another brief tale in a similar vein. This is followed by a truly magnificent Steve Rothery guitar solo lasting near a whole minute - at no point does a note sound out of place or forced. The next part "Mylo" is a song of loss, based on a the death of a close friend. Towards the end you can feel the confusion growing in the mind (and the voice) of the narrator.
"Perimeter Walk" is slower-paced with some shrill picked guitar, and moody atmospherics. The lyrics sit below the music and are dark and moody, yearning for a lost childhood, before erupting into "Threshold", which questions whether the return of childhood in such a hostile world is a good thing?.
There is a familiar guitar refrain, and more picking guitars lead into "Childhoods End" - the point here being redemption, and the realisation that childhood is not lost, it continues to reside inside ("There is no childhoods end").
"White Feather" rounds of the album on a high - a call to arms following the tried an trusted "together we stand" principle. The album fades on the refrain "I can't walk away no more".
EMI's reservations were perhaps true when they feared an overblown, prog concept album, with a potentially confusing story would die a death when placed before the public. Well, in this case those reservations were entirely misplaced (geddit?), when the album was lapped up by the public and hit Number 1, topping 300,000 sales by the end of the year and continuing to be the bands most bankable album (not that they earn that much from it) - worldwide sales are estimated to be in excess of 2,000,000. Not bad for a niche band, playing the sort of music that was supposed to be killed off by Punk in 1977.
In my true curmudgeonly state, I can clearly say that 2015 will be much the same as 2014 (and pretty much every preceding year).
I am not expected any seismic changes in my life in the coming 12 months - so in the words of Curtis Mayfield I will just Keep On Keeping On.
Traditionally, a new year marks a time of taking stock, considering lessons learned from the past, and considerations/intentions for the future. This may result in the formulation of New Years Resolutions, which will probably never happen, and by 17th February be all but forgotten.
I did consider the making of New Years resolutions based around personal health and intake, but hit a couple of walls with those:
Smoking - Yes, I probably should give up Smoking, but (a) I actually enjoy it, and don't actually want to stop, and (b) I was given a new lighter for Christmas and it would be rude not to use it.
Eating - Due to a set of incredibly bad teeth, and daft decisions like skipping lunch because I'm too busy to remember, I'm actually about a stone and a half lighter than this time last year. So, if anything, I actually need to eat more over the next 12 months. It's a tough job, but someone has to do it. I suppose I could supplement my diet with healthier options. Salad? Who eats this stuff and actually enjoys it. Its just garnish and gets in the way of the Steak on the plate. Decaffinated coffee? It promises so much and delivers nothing. It's like Danny Dyer or Peter Andre - I know they exist, but fail to see why? Diet Coke? All fizz and no substance.
Drinking - How can I possibly consider this when there are all these half finished bottles left from Christmas? OK, so the concept of 'Have A Dry January' has been suggested. And to comply with this I will restrict my intake to Dry Cider, Dry White Wine and Dry Gin.
2014 saw the fulfillment of a long held ambition when I got to see The Jam live (OK, it was From The Jam, but it does contain one original member).
2015 sees a new album due from Paul Weller, so I will hopefully get to see him perform live as too (if I can get my arse in gear and stop finding excuses not to visit that London or other metrpolises (metrpoloi?)).
And I also intend to set foot inside a cinema for the first time in about 6 years. Not because there are any films I specifically want to see, just because I think it's about time I did.
Despite quizzical looks and protestations that "you can't possibly want anymore CDs, surely you have enough already" I will keep buying new stuff, and re-discovering old stuff. Yes I know that I can't possibly listen to everything I own, but at least I know I've got it should the whim ever take me.
So there you go - the next 12 months will be a haze of Eating copious amounts (whilst continuing to argue that Doner Kebab is a health food because it contains all the major food groups in one easy to eat package), Drinking (probably to excess), Smoking, buying more Music & DVDs (that I definitely do need) and talking rubbish on the interweb - much like the last few years then.
Time to shave off the beard that has grown since Christmas Eve (I'm on holiday, why would I want to waste time shaving), get back to a more responsible frame of mind (rather than continuing to paddle in a sea of perpetual adolescence, and get back to doing something productive with my time (well, going to work anyway).
Yes, its that time of year again when everyone in the world tries to convince us of what the best slab of vinyl (or CD) released this year was.
Never one to buck a trend, or rock the boat, or even use well worn clichés, I'm going to do exactly that.
2014 has seem some superb releases, it started well, rose in Spring, tailed off a bit in the summer, and finished relatively quietly (or it did for me anyway - much like previous years I probably spent more time re-discovering old stuff, than buying new). But here are the Top 10 choices that found their way onto the Rigid Digit Shelving Catalogue (organised in strict alphabetical order) this year:
1) Stiff Little Fingers - No Going Back
Be honest, did you really expect anything else? SLF release a new album and Rigid Digit places it at Number 1. Quelle surprise?
But wait, I am being objective about this (and even ignoring the fact that I helped part fund it (via PledgeMusic)), this album is right up there with anything they've released previously. Yes, I have no doubts about placing it with 'Inflammable Material', 'Hanx' and 'Guitar and Drum'.
11 years after their last release, a sizeable chunk of water has passed under the bridge, but the subjects that fire Jake Burns pen are still about. Political hypocrisy, Fat Cat Bankers and injustice all make an appearance. As does the nagging doubt that despite the passage of time, nothing much has changed.
And it's not just me - Vive Le Rock agree
2) Len Price 3 - Nobody Knows
3 albums down, and on this fourth offering the boys from the Medway Delta are still pumped full of adrenaline, top quality riffage and tunes. Continuing to evoke the spirit of 60s Mod and Garage Rock, but there is more to the band than The Who and The Kinks with a dollop of The Jam and The Clash thrown in.
This album starts on a high, and over 13 tracks of definite ear-worms, does not let up (OK, the mood/pace dips on a couple of tracks, but hey it can't all be 100% full on all the time). These songs are potent enough on record - in a live setting they're even stronger. If you insist on seeking out at least one track, do yourself a favour and hop over to YouTube and find "London Institute".
3) Henry Priestman - Last Mad Surge Of Youth
Having spent 30 years in the music business as a member of The Yachts, Its Immaterial, The Christians, and hired keyboard player and producer, Henry Priestman finally released his debut solo album at 53. 'Chronicles Of Modern Life' has been described as "Music for grumpy old men". 6 years later, he has released the follow-up. The prime difference here is the album is lighter on frustration, with an almost withering acceptance of the world and it's reality. There are moments of real tenderness, moments of proper "jump up and down and punch the air", relection and continued frustration, all served up with a dollop of healthy self-deprecation.
4) Ben Watt - Hendra
Never really liked Everything But The Girl - all that sombre, downbeat, miserabalism just made me shout "Cheer up. Smile, it may never happen" at the TV screen whenever they appeared. But then, one day you hear something (in this case the track "Forget") which has a reminisence of EBTG, you find it who it is singing it, and your long held prejudices just melt away before your eyes. Or maybe thats just me ...
A melange of jazzy grooves, folk-tinges, electronica, indie guitar and an air of thoughfulness and depth in the songs. Add it all together, and there ain't a bad track here. One cannot escape the air of melancholy pervading the album, but it is not delivered in a dour tone. Much like Henry Priestman (above) the songs deliver a "this is me, this is where I am, this is what is annoying me, now get on with it" tone. A definite spring/summer album (and in this world of strange coincidence, one of the brightest, uplifting tracks on the album is called "Spring")
5) Wilko Johnson / Roger Daltrey - Going Back Home
Doctor Feelgood? Yes. The Who? Yes. But together, how does that work then?
The answer is damn near perfectly. A mix of Wilko originals, old Dr Feelgood numbers and a Bob Dylan cover, Dalterys voice hasn't sounded this good on record for years, and Wilko is playing in his trademark rough edge style, and in sounding rude health (which he is now, having got the all clear in October). This is hard, raw, rough & ready R&B, and you can almost feel the sweat coming out of the speakers. The album finishes (in around 30 minutes), and you want to play it again ... and again.
6) Paul Heaton & Jacqui Abbott - What Have We Become
Cynical, surly, acerbic, full of wit - all terms that could be used to describe great wodges of The Beautiful Souths output, particularly the later Jacqui Abbott years. There was something about the singing banter, and the blend of the voices of Paul Heaton and Jacqui Abbott which was almost perfect - prime pop nuggets with an edge, and an ever-present undercurrent of subversion.
This re-union picks up where the past left off, and it is fair to say the album possibly even surpasses their original incarnation.
Reading in places like a State Of The Nation address, there is joyous country/folk inflected pop, with an air of melancholy, frustration and acceptance.
7) Temples - Sun Structures
It is probably a 50/50 chance of a band debut release (or releases) resulting in a corking debut album (OK, the chances are probably greater (maybe 70/30), but I've got to make my point somehow).
Late 2012 saw the release of "Shelter Song" - a song mixing circa 1967/68 Beatles, particularly Ringo's drum sound, The Byrds, Syd Barrett and a whole load of reverb. In short, a great slab of psychadelia for the 21st Century. A second single appeared ("Colours To Life") in June that year, which (for me) just increased the anticipation for an album to be released. And when it did hit the shelves, there was not an ounce of disappointment in my lug-holes.
From the opening track ("Shelter Song") to the clos, this album is a magnificent piece of work. Dense, deep, almost claustrophobic in places - almost like the late 60s have been transplanted to 2014. My only criticism would be that the epic penultimate track "Sand Dance" would be a better closing to the album than the more acoustic, wistful "Fragments Light" (but thats just my opinion)
8) Manic Street Preachers - Futurology
If Simple Minds had recorded at Hansa, this may well have been the result. (Lazy and simplistic, I know - but it is the easiest way to describe this release)
A definite European feel, leaving behind the more home-spun Welshness of Rewind The Film.
Each album since 'Send Away The Tigers' has been getting better and stronger. This album continues that run, and develops/enhances (?) the musical template of previous releases, but does not sound out of place in the Manics catalogue.
9) Real Estate - Atlas
2014 Correction of Prejudices Part 2 - I never really like all those American indie bands. Sometimes trying to be too "muso", or being too Americana-centric (is that a term? it is now. I know what I mean by it anyway).
This album showed you can still have all the above, and these cloth ears will respond - I don't know what Real Estate have done that is any different to any of their contemporaries, but they've done something.
10) Royal Blood - Royal Blood
ROCK!
That just about sums it up - play very F***ING loud.
Special 2014 Bonus selection (because I can't yet make a case to squeeze it into the Top 10 (what would I leave out if I did?))
11) U2 - Songs Of Innocence
If we ignore the hoo-har about the release through iTunes, and the album becoming simataneously the most downloaded, and the most deleted album ever, this is a great album. U2 are not trying to preach, or to push the boundaries of their sound, or indeed to anything "big and clever". It's like 'Rattle & Hum' without the trying to hard to be "rootsy, americana-esque, ans self-important. The opening track "The Miracle Of Joey Ramone" is surely deserving of a nomination for 'Best Opening Track' accolade.
On the whole, 2014 has not been a bad musical year. In addition to the 11 above, my earholes have been digesting new discoveries, and/or catching up with those that I missed out earlier, in the shape of:
The Flamin Groovies - there is so much more than "Shake Some Action", and I'm glad I found that out
Roy Harper - a name I have heard often (Led Zeps "Hats Off To Harper", vocal on Pink Floyds "Have A Cigar"), but never actually heard any of the man himself. The compilation 'Counter Culture' opened up this new aural pleasure, and has now been supplemented with 'Stormcock', 'Lifemask' and 'HQ'
Public Service Broadcasting - Inform Educate Entertain came out at the back end of 2013. On the face of it, a strange concept to take old Public Service Broadcasting Films (hence the title) and soundtrack them in a mixture of indie guitar and electronic beats. A peculiar idea, but it works fantastically. A new album is due in February 2015, and it is already on the Wish List
David Bowie - Low. Following the release of 'The Next Day' in early 2013, I went back through past Bowie, and discovered I didn't actually own this and (and never have - I think I had it on long term loan from a mate). Delivered in the same package that brought The Temples (see above), this spent most of February fighting with 'Sun Stuctures' for CD playing time
A drummer (and part time toilet cleaner) from Croydon auditions for the semi-mythical pre-punk band London SS (a band at one time or another containing many of the original London punk musicians (who weren't the Sex Pistols)).
The thing that makes London SS so revered is (a) their member history, and (b) the fact they never actually played live.
In spring 1976, Brian James leaves London SS and joins up with the aforementioned toilet cleaner, and his bandmates in the Masters Of The Backside (another early punk band whose existence was confined to the practice room only).
Brian James, Rat Scabies, Dave Vanian and Captain Sensible become ... The Damned.
Although not the first punk band (the Pistols pre-dated them by some 6 months), they were:
the first to release a single
the first to release an album
the first to tour the US
the first to split up (and by association, the first to reform)
They performed their first show supporting the Sex Pistols in July, soon after they signed to Stiff Records. Their first single ("New Rose") was issued in October 1976, followed by debut album ('Damned, Damned, Damned') and second single ("Neat, Neat, Neat") in February 1977.
Following a tour with Marc Bolan, second guitarist Lu Edmonds joined, and recording of the second album commenced.
The original intent was to engage Syd Barrett as producer. Unable to tempt Syd, the band invited Pink Floyd drummer Nick Mason to take the producers seat.
The addition of Lu Edmonds caused friction within the band (Brian James brought Lu in, but the other members were unsure his presence was required). Also, the relative inexperience of Nick Mason as a producer, and his unfamiliarity with the band and their music resulted in a somewhat lacklustre second album. There are high points on 'Music For Pleasure' ("Problem Child", "Stretcher Case", "Idiot Box"), but when held up against the debut. it misses by a long way.
By the end of the year, the band had been dropped by Stiff Records, and were without a drummer after Rat Scabies quite following the recording of the album.
The Damned limped into 1978, recruiting Jon Moss (future Culture Club drummer) to fill the vacant drum stool, but the band folded by February.
Dave Vanian, Rat Scabies and Captain Sensible (switching from Bass to Guitar) joined forces with Lemmy (Motorhead) on Bass under the name Les Punks for a one-off gig in September. This reformation continued into 1979 (with Henry Badowski replacing Lemmy) under the name The Doomed (it is understood that Brian James may have copyrighted the name preventing it being used by any band that he wasn't a member of).
By April 1979, The Damned moniker was restored, Algy Ward replaced Henry Badowski and they signed with Chiswick Records. "Love Song" was released as a single, and the band appeared on Top Of The Pops. Second Chiswick single ("Smash It Up") came in September, followed two months later by the album 'Machine Gun Etiquette'.
Opening with the urgent, frenzied bass of "Love Song" and bounding into the title track (including the coincidental lyrical refrain "Second Time Around"), this is an album full of urgency, invention and stretch from the basic 3 minute thrash formula. Tunes abound everywhere, including the sumptuous Hammond organ break in "I Just Can't Be Happy Today" and the piano introduction to "Melody Lee". There is a darker tone with "Plan 9 Channel 7" suggesting horror flicks are never far from the Damned formula, and a return to their roots with a cover of MC5s "Looking At You". The absolute masterpiece of the album is the closing track - the two part "Smash It Up". Starting slowly, Part 1 is an electro-acoustic psychadleic influenced instrumental, almost wistfully melancholic, containing some very un-punk chords. Part 2 takes this platform and provides an almost perfect slab of pop-punk tunery, complete with nihilistic lyrics inviting us to smash up everything that gets in our way, including Krishna burgers, Glastonbury hippies, frothy lager and blow wave hairstyles.
"Smash It Up (Parts 1 &2)"
With positive critical acclaim, a return to public attention (possibly even more so than before), and a truly magnificent album behind them, The Damned V2.0 was triumphant.
1980 saw Algy Ward leave (to form Tank) and be replaced by Paul Gray from Eddie and The Hot Rods. (trivia note: Paul Gray had already appeared on a Damned album ('Damned, Damned, Damned') - as part of Stiff Records slightly off-beat/skewed marketing methods, the live shot of The Damned at The Roxy on the back cover was replaced by a photo of Eddie and The Hot Rods (featuring Paul Gray) on early pressings)
This was to be the most stable line-up of the band to date, lasting until early 1983.
The first outing for this re-convened unit was a cover of Jefferson Airplane's "White Rabbit" in mid-1980, followed by the ambitious double LP 'The Black Album' in November.
Taking the garage/psychadelic influences further, and applying more of the darker tones hinted at on 'Machine Gun Etiquette', 'The Black Album' moves the band further from their 3-Chord spiky-haired punk peers.
Commencing with an anthem to all things dark ("Wait For The Blackout"), the dark pop of "History Of The World", more darkness on "Dr Jekyll and Mr Hyde" and "Twisted Nerve", the almost folk-tinged, reflective "Silly Kids Games", the machine gun drumming punk of "Hit And Miss" and "Sick Of This And That", and the psychedelic freak-outs "Therapy"- this album really does cover all bases. And then, to finish, The Damned err into Prog-Punk territory with the 17 minute "Curtain Call" - how many other punk bands would have (a) the ability, or (b) the balls to produce a song which takes up one entire side of an album?
"Wait For The Blackout"
'Machine Gun Etiquette' is the definite zenith of The Damned, followed closely 'The Black Album'.
A major falling out with Chiswick saw the band move to NEMS in 1981 and release one EP, before NEMS collapsed. From there, they signed to Bronze and released the single "Lovely Money" and the album 'Strawberries' (from which two further singles "Dozen Girls" and "Generals" was culled).
"Strawberries" shows continued growth, and remains a very listenable ,cohesive slab of power-pop/rock, if not a truly great album.
It is tinged however with the usual Damned "buggeration" factors - Paul Gray was in dispute with the band over songwriting credits (which ultimately resulted in Gray leaving the band), and the band themselves were in dispute with Bronze over contracts, royalty payments and just about everything else. Add to this the distraction of Captain Sensibles burgeoning solo career, and the future looked about as bright as the cover of 'The Black Album'.
A one-off single on their own imprint Damned Records ("Thanks For The Night"/"Nasty") was released in 1984, and was promoted with an appearance on an episode of The Young Ones. The band included Roman Jugg on guitar (he had previously provided keyboard duties on 'Strawberries') and Bryn Merrick on bass (replacing Paul Gray). This did not lead to a change in fortunes, and the band once again found itself without a record label and one member down as Captain Sensible left the band in August 1984.
With Sensible gone, the gothic affectations and sounds were brought to the fore, and the band (somehow?) landed a deal with a major label (MCA). Things were definitely looking up - for the first time in 8 years, they might actually get paid!
"Grimly Fiendish" was released in March 1985, and the album 'Phantasmagoria' followed in July. The album, in parts, could be considered as 'The Black Album Part 2' (or perhaps, more fairly, the leftover tracks that weren't quite strong enough to make the cut). Other highlights include the singles "Shadow Of Love" and "Is It A Dream" and the none more gothic "Sanctum Sanctorum".
And then something strange happens: buoyed by the commercial success of previous MCA releases, the band record a one-off cover version of "Eloise" and find themselves in the Top 10 (their best chart performance to date was number 20 with "Love Song" back in 1979).
So now would be the time to capatalise on this new found success? What The Damned did was to release a complete clunker of an album in the shape of 'Anything'. Apart from the cover of "Alone Again Or" and the driving, relentless "Psychomania" there isn't much worth re-visiting here.
Work on a follow-up never got past the demo stage, and the band were released from the MCA contract.
Brian James and Captain Sensible rejoined for a series of shows in 1988, and then the band disbanded.
Since then, there have been various reformations featuring different members, and the release of further albums. Of these, 2001s 'Grave Disorder' is perhaps the best of the bunch - it may not be up there with 'Machine Gun Etiquette' or 'The Black Album', but it is definitely better than 'Anything' (apart from the aforementioned cover of "Alone Again Or", which (and people are going to hate me for saying this) I prefer this version to the original by Love).
Nestled away at Track 4 on the Libertines debut album is the track "Time For Heroes". An in 2002, it probably was. The band were already the darlings of the NME, and were soon to cross-over into mainstream media courtesy of Pete Doherty's "colurful" life.
Time For Heroes? An anti-hero perhaps. A widely recognised anti-hero whose exploits certainly helped the band achieve further recognition, and possibly contributes to their ongoing legacy.
Formed following a seemingly chance meeting between Carl Barat and Pete Doherty (Barat was sharing a flat with Doherty's sister). Shared musical interests and ambitions saw them both abandon their academic studies (Barat: Drama, Doherty: English Literature) and take to the stage - their early gigs were primarily at the flat Barat and Doherty now shared.
Their first proper demos were recorded in early 2000. A change of line-up (Drummer Gary Powell and Bassist John Hassall), and a showcase event saw interest from Rough Trade. By the end of 2001, the band were signed to Rough Trade.
Their first single ("What A Waster") was released in June 2002. Although acclaimed and coupled with their first NME front cover, sales were low, and airplay scant to non-existent (although this may have something to do with the the "slightly fruity Anglo Saxon" in the lyrics).
Whilst not exactly re-writing the rules of rock & roll, the song lays the template of the bands sound (rough, dirty edge guitar power chords, thumping drums and a twin vocal attack) which was to be employed throughout the remainder of their life.
Second single ("Up The Bracket") arrived in September followed the next month by their debut album.
That first album was a dust-clearing, statement of intent. A burst of pure adrenaline, wrapped in a bedshit-low-life-"Elegantly Wasted"-chic type package.
A collection of short, sharp songs imbued at times with a romanticism, at other times with a definite edge.
They weren't stretching the boundaries, but what they were doing was providing an object lesson of how to mix Garage Rock, Punk, Pop and a soupçon of sleaze. There are times when it is almost an unlistenable mess, but the energy and commitment of the band keep the attention.
Tensions in the band were rising, most noticeably on stage where performances were curtailed due to in-fighting, or simply din't happen at all as either Pete Doherty or Carl Barat failed to turn up (in fairness to Carl Barat, it was usually his sparring partner who was a no-show).
Following a show in Germany, which Pete Doherty did not play, he was effectively sacked from the band - Barat refused to play on stage with him unless he straightened out.
Then in a scene which wouldn't be out of place in a farce, Pete Doherty was arrested for burgling his bandmates flat.
Surely, this was the end ...
Carl Barat met Pete Doherty straight from Prison, and it seemed normal service was resumed as they went straight and played a gig in Kent that evening. This was followed by more shows in London, and then, a couple of months later, back into the studio for album number 2.
The second album maintains the signature sound, and in places is even more ramshackle than the first (it feels like some of the songs weren't truly honed, just chucked down to get them done).
The prime difference here is the songs have a harder, less wistful edge, with moments of biography and lost friendship. The album is bookended by two such songs ("Can't Stand Me Now" and "What Became Of The Likely Lads" *) which are the pick of the tracks here (with "What Katy Did Next" a close third).
* unfortunately, this is not a cover version of the theme to the 1970s sitcom. A part of me, however, wishes that they had done that song.
After the release of the album, the band fell apart when Doherty was excluded from the band (again) until he'd cleaned up. This reformation seemed further away with the release of the debut album by Babyshambles (featuring Pete Doherty) and the formation of the Dirty Pretty Things (featuring Carl Barat and drummer Gary Powell).
Taken side by side, the initial releases from the pair stand up (although the Babyshambles offering 'Down In Albion' does take a bit more listening to). The Dirty Pretty Things release ('From Warterloo To Anywhere') is to these ears the de facto third album from the Libertines, retaining the recognised sound and also including another of these "Story Of The Band/Relationship" type songs in the shape of "Bang Bang You're Dead" (although Carl Barat denies any suggestion of this, perhaps putting it down to mere coincidence on the part of the listener).
The Dirty Pretty Things stumbled on for another couple of years, folding in 2008, and Babyshambles managed 2 albums before going into hibernation - returning with a new album in late 2013.
The Libertines reformed for the Reading and Leeds Festivals in the summer of 2010. The appearances received acclaim from the press and the public, but in true Libertines style, nothing more happened as they went their separate ways again.
They broke the silence again with an appearance in 2014, and then embarked on their first tour for 10 years. It was also intimated that there may be new material in the offing.
This being The Libertines, it may of course never happen and the whole project will descend into acrimony, arguments, and another split where the two main protagonists refuse to talk to each other for another 3 years. Then they'll try again ... and again ... and again.
Two words that probably do not inspire great confidence are "Butlins" and "Skegness".
However, put them in the context of 3 days of Punk/New Wave/Rock/Alternative (or whatever you want to call the genre?), and add a liberal amount of beer and junk food, and those words no longer send a chill up the spine (or at least less of a chill, anyway).
The close season at Butlins (or indeed any Holiday Camp) can be a cold, desolate, depressing time ("... and how does that differ from a Holiday Camp in the summer months?" I hear you ask).
To fill up these cold, fallow times, and to ensure continued employment and a useful additional income strem, Butlins is throwing open its doors to a succession of Live Music Events, including Madness Weekenders, 70s/80s/90s Events, Giants of Rock, Northern Soul and the British Folk Festival. The Bands on stage aren't low budget either, with Bellowhead at the Folk Festival, Focus and Mick Ralphs turning up for the Rock Event and Slade (or 50% of them) headlining the 70s Weekend.
The line up for the Great British Alternative Music Festival included headline sets from The Damned, The Boomtown Rats, The Rezillos, Big Country and From The Jam. Spread over 3 days, the calibre of the bands on offer led to some tough decisions, limited sleep, and a hammering on the wallet at £3.50 a pint (however, you can buy the beer in Spar at less than half price, fill your plastic cup and wander freely between the venues).
I think Skegness can be officially titled "the arse end of nowhere" - there are only two roads leading to Skeggy, both of which mean you need to go through Boston. On Friday, the traffic around Boston meant it took about as long to travel the last 30 miles as it did to travel the first 150.
I'm not alone in this difficulty. Captain Sensible reported on his Facebook page that The Damned were also stuck in this traffic jam - and they arrived only an hour or so before they were due on stage.
So after the traffic difficulty, we rolled into the site, checked in and were told we had been upgraded to 'Gold Standard' Accommodation - a result of sorts, we now had a bigger TV and a choice of 3 bedrooms. On the downside, the accommodation block meant a slightly longer walk to the Venues (only about 2 or 3 minutes, but in the cold wind and rain ...)
Friday evening started with the first of many choices: Anti-Pasti or Fukdust4?
I plumped for Fukdust4 on the basis that "No Government" is the only Anti-Pasti song I know, and I never really liked that much anyway.
The 10pm decision was even tougher - UK Subs of The Damned?
Sorry Charlie Harper - Dave and The Captain won this round. Their set showed them to be more than just 'an old punk band doing the rounds'. Debut album 'Damned, Damned, Damned' is undoubtedly one of the prime punk albums (along with 'Never Mind The Bollocks' and The Clash's self-titled debut), but as their career progresses more colours are found in their music - you get the pop/punk/powerpop majesty of 'Machine Gun Etiquette', the dark, prog-tones of 'The Black Album' and the psychadelic/gothic collision of the later material ('Phatasmagoria' / 'Anything'). And all of these sounds burst forth from the stage in a storming set (even given the lateness of their arrival at the venue, and the equipment difficulties/failures they experienced).
Friday had been a long day, and I needed my beauty sleep. This meant neither Bad Manners or the Anti-Nowhere League secured my patronage - I'm sure they we're both very upset about that.
Saturday was a slow start - bit of brekkie followed by a wander up the road to Skegness's premier attraction (Fantasy Island) and a walk on the beach.
Point 1: Fantasy Island is far from a Fantasy ("Nightmare" would be a more apt description)
Point 2: The Sea Front is a cold depressing place - which is a bit obvious when you realise it is the North Sea you are looking at
Point 3: The perimeter of the Butlins complex is surrounded by an 8ft fence with spikes on the top - a bit like a prison
Late Saturday afternoon was the first of two shows from The Boomtown Rats (they would also be playing at 10pm on the stage). The band now consists of 4 original members (Bob Geldof, Garry Roberts, Simon Crowe & Pete Briquette). The show was full of energy, R&B and the hits. Bob Geldof is a supreme front man, and even though it was 4:00 on a Saturday afternoon, his charisma, chat/banter and energy rubbed off and built the crowd to a frenzy. If I have one criticism it would be that original guitarist Gerry Cott and the keyboards of Johnnie Fingers were missed. The piano introduction to "I Don't Like Mondays" and the organ break on "Someones Looking At You" just weren't the same when pounded out on a Yamaha keyboard (it may actually have been a Casio VL1).
Actually, there is a second criticism, but not about The Rats - the Gents toilet in REDS bar were starting to whiff a bit (this became much worse over the course of the remaining weekend).
The 8:30 slot saw a choice between Ed Tudor Pole and The Chords UK (featuring original Chord Chris Pope).
Again, choices? what to do?
Well, two things swung it for The Chords. (1) I've spent the last month or so listening to a lot of Mod Revival stuff, and can confidently state the The Chords album "So Far Away" is an absolute corker. (2) I fancied a bit of a sit down and there was more free space in The Chords venue than next door.
For a band that aren't widely known, and in 3 years of recording managed 7 singles and one album to marginal success, the supreme confidence on stage and the power of the songs performed suggests the original band should rightly be feeling short changed.
The set included a number of post-Chords/Chris Pope songs. It looks like he is onto album number 3 now, and somehow I've managed to miss out on them. This oversight has now been rectified.
Next up was the second show from The Boomtown Rats or The Rezillos.
Out of pure interest/cynicism, I dropped in on the Rats first. Firstly, the set was exactly the same (or at least the first two songs were, so I'm assuming the rest would be the same), and the toilets now stunk even more.
So, it was off to Center Stage for an evening with The Rezillos. Despite the terrible sound, the show was fast paced, committed and had the audience bouncing around.
I am surprised though - I never really saw The Rezillos as a really "big" band and pitting them against The Boomtown Rats was perhaps a little unfair. Indeed, the size of the crowd told it's own story (especially when compared the The Damned the previous night, or the audience size later on for Sham 69).
Late night Saturday show, and I'm staying awake for this one. Whilst not being familiar with Goldblade, the small amount I have heard is perhaps best described (possibly only by me) as "a bit sh*t". This belief was re-inforced by the first 5 minutes of their show - hey, some people like them, I didn't (so shoot me!).
Sham 69 it was - this is what Saturday night needs. 45 minutes of dumb, mindless, anthemic slogneering washed down with a couple of Pints of Guiness. But hang on, this isn't Sham 69. Leastways, there is no Jimmy Pursey. I'll admit to feeling a bit let down (even though I did already know this in advance), but the sheer force of the performance (and possibly the numbing effects of beer) meant JP wasn't really missed.
Sunday's first performance was from Billy Liar who is officially described as a "romantic punk singer, travelling the world with a battered acoustic guitar and writing about everything he observes".
That may be the case, but he was let down by a truly atrocious sound mix meaning all you could hear was the ringing of the guitar strings and a muffled vocal.
Attendance was brief due to the above fact, and the increasing pong emanating from the back of the venue.
An hour and a half later, in the same venue, The Blockheads took to the stage and served up an hour of good time, tightly performed, funky pub rock. Featuring original members Chaz Jankel, Norman Watt-Roy, John Turnbull and Micky Gallagher. Vocal duties are handled by Ian Dury's former minder Derek Hussey ("Derek The Draw").
A perfect way to spend a Sunday Afternoon.
The early evening slot saw a clash between The Lambrettas and John Otway. John Otway and Wild Willy Barrett emerged victorious, aided in no small part by the availability of a table and chair (my poor old legs needed a rest. And did I tell you about my back ...?).
After Wild Willy's introduction ("Please welcome John Otwat"), he bounded on stage looking permanently confused with an acoustic guitar and a clown's hair-do, and so began nearly an hour of musically inspired mucking about, banter and chat with the audience (just about every song began with "... and the interesting thing about this song".
That statement probably does him a dis-service, because the songs themselves ("Cheryl's Going Home" and "Geneva" to name but two" are very good, and Wild Willy Barrett is a consummate musician.
After the self-created encore ("this is our last song, then we'll go off, come on again and do two more"), my first response was: "Follow that!").
However, I didn't hang on to see if Big Country could indeed follow the trail of hilarity, ripped shirts and mirth left by John Otway, because it was time to go next door for the appearance of one band in my 'Top 5 I Want To See Live' list. I don't think I'll get the chance to see The Beatles, The Sex Pistols, The Clash or The Cockney Rejects (?), but this was my chance to see The Jam (well, one of them at least).
And to complete this almost religious experience, I secured a prime spot by sneaking between the barrier and viewing the stage from the decking below the sound board.
From The Jam are in the middle of their Setting Sons 35th Anniversary Tour, and some of the tracks from that fine, fine album were included tonight alongside more expected tracks like "Going Underground", "When You're Young" and "Strange Town".
Interesting to note that what is effectively a tribute band is playing the cover versions from the albums ("Slow Down", "David Watts" and "Heatwave") - a sort of tribute to a tribute. Still, I suppose it just adds to the suspension if reality.
The encore started with "Down In The Tube Station At Midnight" and finished with "Town Called Malice" (personally, I'd have done these two round the other way, but then I'm not in the band am I?).
The end of a hot sweaty night (confirmed by the translucent nature of Bruce Foxton's shirt), and not dampened by the worsening odour from the lavs.
There were two later shows (Jeremiah Ferrari and Slagerij), but after John Otway and From The Jam, 11:45 on a Sunday was just beyond my energy levels.
Throughout the weekend, in the "slow time" afternoons, music was supplied by a 3 piece band (expanding at one point to about an 8 piece band), going by the names Panjenix, Electrojenix and Celtic Cross.
It was a sort of laid back acoustic, folky, punky, momentarily country, irish sound, with covers of The Stranglers, The Clash and The Pogues interspersed with their own material.
Laid back and relaxed - the perfect accompaniment to Chips & Curry Sauce, or whatever overpriced takeaway you cared to invest in.
For me, the highlight of the weekend was undoubtedly From The Jam, with John Otway and The Damned sharing the sliver medal.
Special mention must go to Chords UK / Chris Pope, for an absolutely magnificent set which caused me to head straight to the merchandise stand and invest in what I had missed out on.
From his last album 'Peace Of Mind', this is the track that had me scurrying to the side of the stage and lightening my wallet.
"Mutiny On The Thames"
Would I go again?
Probably, yes. Besides I missed out on Big Country. However, they will be playing at the 80s version of these events. It is taking place in Bognor Regis, which has similar connotations to Skegness, but I bet it is easier to get to.
