When I started listening to and buying music, there was 20+ years of the past to supplement the current offerings. At this point everything is new (even if it is old). A regular balance of old and new began to fill my shelves.
And then as one settles into a preferred style or genres, the new becomes the focus and discoveries of the past become more focussed. Like when such-and-such releases a new album and you realise that you don't own the back catalogue (or selected parts of it) - this is where mid-price re-issues come into their own, allowing the latecomer to build a collection at a reduced cost. And then in the internet age, the simplicity of Amazon Marketplace and MusicMagpie makes the "gap filling" even easier.
But I can't help noticing that a lot of new stuff that arrives and I get overly excited about is the latest album from an established name.
Over the last 5 years (off the top of my head) has seen the new names appear on my spreadsheet:
Public Service Broadcasting
The Strypes
First Aid Kit
The Vaccines
Parquet Courts
Trembling Bells
White Denim
Fontaines DC
Mattiel
Sam Fender
Chubby & The Gang
Hamish Hawk
Yard Act
Block 33
Wet Leg
Humdrum Express
Massive Wagons
Sports Team
Big Joanie
Fine names, and fine albums released and thoroughly enjoyed. But ... in that time period, I have bought around 200 CDs , the 19 names above represent about 10% of the total. Even ignoring the relentless gap filling and back catalogue buying, I reckon it's still only 25% that is from new artists.
So what does it all mean? Nothing really - it's all music, and very good music too. I'm just concerned that (a) I might be missing something, or (b) maybe there isn't that much new (which appeals to my taste) out there.
I have a subscription to Mojo, trawl various websites and blogs for recommendations, and listen intently to 6Music hoping for inspiration. It does happen, just not as often as it did in my younger days. Is there less new stuff around, or have my tastes dictated that there is little worth investigating as I settle back to enjoy so-and-sos debut album from 1984 ... for the 973rd time.
And the slightly more sobering thought - many of those I have purchased, seen live, followed in print, and generally advocated to anyone who'll listen are now nearing (or passed) the generally accepted retirement age of 65 to 67, and may well be thinking of stepping back taking it easy and enjoying a quiet life.
The quest continues ... I'm sure it's out there, but like some Grail I must continue to search. There must be some New somewhere ...
Oh I'm looking around, but I ain't hit the spot I need three minutes now that'll make my heart stop Oh so tell me that it's too late It's a race against the clock But I'm still looking around I'm searching for the sacred scrolls of pop
Glen Matlock wrote the songs for the Sex Pistols. When he left the band / was ousted from the band (depending on which version of the story you go for - Glen's version or the legend) he retained a relationship with EMI leading to an outlet for his new band The Rich Kids. The album 'Ghosts Of Princes In Towers' was prime power-pop harking back to Glen's infatuation with Small Faces and 60s Mod, but was scuppered by production. Mick Ronson basically turned the faders up to full and left them there. The album was "recorded" rather than "produced". Within a year The Rich Kids started falling apart and Midge Ure and Rusty Egan decamped to Visage (with Billy Currie and Steve Strange) and effectively set the template for New Romanticism. He may not have had the highest profile solo career, but he has kept himself busy with the writing of a memoir (I Was A Teenage Sex Pistol - he got in there quick to tell his side of the story, and the book still sits as an essential text in the story), plenty of session and sideman work including Iggy Pop, Faces, Sex Pistols reformations, King Mob, and most recently Blondie. He's also kept his own name out there (albeit at a small-scale level) with his own solo outings - the last of which was 'Good To Go' in 2018.
Since that album there have been 2 major events that feed into this album. The first being Brexit - he is an outspoken opponent of Brexit, and the Covid pandemic. Whilst his opinions on the latter are not as vociferous as the former, his position as a touring musician (ie where most of his income is from) was in suspension. So taking the frustration of the former and using the time given by the latter has produced 13 songs with something to say, and a bunch of riffs helping the message along. Plus his address book affords a guest list that anyone would be pleased with including Earl Slick (David Bowie sideman), Clem Burke (Blondie tub thumper), Neal X (Sigue Sigue Sputnick / Iggy Pop) and bass duties by Nornan Watt-Roy.
"Head On A Stick" and "Consequences Coming" open the album fully charged and railing. But next track "Magic Carpet Rides" drops the levels. All good songs (including an unexpected cover of kd lang's "Constant Craving". It is side 2 (in old money) where the album picks up speed again with a duffer-free run of 6 tracks - the prime picks being "Face In A Crowd" and "The Ship". Musically it's a mix of a 70s Rock sound (no doubt inspired by his love of Faces and Humble Pie) plus a bit of Slade thrown in and a Rockabilly swing throughout. My only real criticism is Glen's voice - it's a good voice, and good for the song styles here. But mate, you're from West London. Why the mid-Atlantic singing voice? A minor quibble for an otherwise consistent quality album - he wrote the songs 40 odd years ago, and is still capable of penning a catchy little number with a message. It just may not get the same audience (either now or in future years).
The first commercial CD was released in late 1982. Since then, Record Companies have found ever more inventive ways to entice buyers into buying (again) what they already own. I'm sure like most others I have re-bought much of my vinyl collection on CD, but if the price is right (or if the package is right) I will continue to fill gaps in the collection, or even start new collections that I never knew I needed.
But once the duo-ownership of vinyl and CD is satisfied, surely no-one is mug enough to buy the stuff again?
Guilty m'lud ...
I own 13 different versions of Sex Pistols 'Never Mind The Bollocks'. There are other releases which fall into the multiple ownership category, but this one represents the peak.
My owning Carter USM's '30 Something' on vinyl, picture disc, cassette and CD has now been extended with the procurement of the 3 CD + 1 DVD 30th Anniversary Box Set. It contains the album, a second disc of B-Sides and Live recording, a full live show from Kilburn in December 1991, and a DVD (In Bed With Carter) of a Brixton Academy show from June 1991. A very nice package, and good to have all the pieces together in a single box.
How often will I revisit the extras and/or watch the DVD?
I also recently visited a record fair where I plugged gaps in the CD collection, took a punt on a couple of bands that I've heard good things about (The Rockingbirds, and Big Big Train), and found the 2nd and 3rd Beatles Anthology discs at a decent price. I now own all 3 Anthology sets - again (like Carter USM above) nice to have on the shelf, but will I ever put aside 2 or 3 hours to listen through?
Many early CDs were straight copies of the vinyl masters pressed onto a 5" shiny disc, later came expansions with contemporary singles, maybe a couple of live tracks, and/or radio session versions. And then came advances in recording technology where the Masters could be re-visited, cleaned-up and re-mastered to sound better on CD (OK, you do need good ears to hear some differences, but reading the phrase "Digitally Remastered" psychologically suggests you're getting something new (the bass higher in the mix, an unheard crash cymbal, clearer vocal tracks as "bleed" is removed, maybe even some background dialogue). And then comes the 20th, 25th, 30th, 40th, or 50th Anniversary Editions - these milestones need marking somehow, so what is a record company to do with each subsequent release. The album has been re-mastered, singles added, live shows compiled ... where next? Time to plunder the archives for whatever is hiding in the dark corners, exhume it and press it onto extra discs. Maybe even place it in a special box with added ephemera and tat.
So you "invest" in the new anniversary edition with bonus discs full of unheard tracks - a nice package to own but how often do the extras get an airing? Where the expansion is simple (ie singles and B-Sides tacked on the end of the album) then these will probably get an outing as much as the album itself. Live Discs may get a re-visit, but demos and alternate takes probably only one listen to say "I've heard it" then back in the case. This is the same for DVDs - probably only once, and then I can't be bothered with the faff of extracting from the CD shelf in one room and playing it on the DVD player in another room (plus the fact that it will soon be on Youtube anyway ...).
But ... there may be an exception. Jim Bob (back to Carter USM again ... see I do think these passages through) is about to release a new album in June. If I pre-order now (which I have done) it comes shipped as a 2 CD set with a second disc of cover versions. CArter USMs take on cover versions threw up some interesting choices and arrangements, and I'm expecting Jim Bob's take to be no different, and I'm sure this extra disc will get more than a cursory listen and a return to it's packaging.
In mid-1987, The Smiths announced they were to split after 5 years of relative success with their final album 'Strangeways Here We Come' to follow in September of that year. The mood of 'Strangeways ...' probably sums up where the band members were wit the breakdown of personal relationships, the old chestnut "musical differences", Johnny Marr wanted to change the sound of the band to the point of having no guitar on "A Rush and a Push and the Land Is Ours". It's not a complete shift from the jingle-jangle of old, and does come complete with Morrissey's pseudo-intellectual, 6th Form, literary references peppering the lyrics.
The debate continues whether 'Strangeways ...' is their best album - I believe that it is. Despite the breakdown in relationships, I think the songs are amongst the strongest and most representative (if not pulling from a broader palette) of the bands career, and the production is fuller than before - almost like it has some production work rather than sounding muffled or like bits were recorded in a tin can (a harsh criticism, but I hope you see what I'm getting at ...)
Mid-way through side 2, there is a song where Morrissey imagines the conversation of record company execs following the death of their income stream (sorry, recording artiste). With a cry of "Re-issue! Re-package! Re-package!", it is a scathing and idealistic commentary on the likely exploitation and cash-in that will come when a star is no longer recording but the return on investment must be protected. And here's the irony - The Smiths had already released 2 compilations in their short life (3 if you count the (originally intended) US compilation that got a UK release, plus a live album. And then there have been 7 more compilations since 1992 - 10 compilations vs 5 studio albums, a ratio of 2:1 in the re-packaging stakes. Morrissey solo has a ratio of 1:1 with 14 compilations vs 14 studio albums.
"But you could have said no If you'd wanted to You could have said no If you'd wanted to"
Did Morrissey, Marr, Rourke and Joyce (and Gannon) say "no"? There is one compilation - 'The Very Best Of The Smiths' - that the band have distanced themselves from. Though there is at least one - 'The Sound Of The Smiths' - that both Morrissey and Marr were involved in the assembly. In Morrissey's defence, many of his compilations have come as a result of constantly changing record company and the need to meet contractual obligations. But is his next album to be a Best Of The Best Ofs?
The Morris company (originally named WRM Motors) was formed by William Morris in 1912 who expanded his bicycle manufacturing to cars and set up home in Cowley, Oxford. It's first production model was the Morris Oxford Bullnose (so called due to the rounded front grille). A larger model, sporting more luxuries (such as proper doors) was introduced and titled the Morris Cowley after the factory it was made in. After World War I, Morris expanded it's interests buying up subsidiaries in engine manufacturer, body parts, military vehicles, and other marque names. After World War II, Morris looked to replaced it's Eight and Ten vehicles with a new, relatively low cost vehicle. Morris designer Alec Issigonis set about the task, and in 1952 the Morris Minor was launched. The Cowley production line busied itself to meet demand for the new vehicle, and also rolled out the larger (similarly shaped) Morris Oxford and Morris Cowley (again, and up-rated variant of the base Oxford)
In 1952, Morris merged with close rival Austin - based in Longbridge, Birmingham - to form the British Motor Corporation (BMC). There may also have been some political intervention in this merger as Leonard Lord (Head of Austin) and Lord Nuffield (Head of Morris) weren't exactly close friends. Austin may have been seen as the dominant partner, but it was Morris who had the best selling car (the Minor) and the most productive factory (Cowley). Two major shifts occurred in 1959. Italian styling house Pininfarina overhauled the Austin/Morris range and the identical (but subtly different in interior) Austin Cambridge and Morris Oxford (but no Morris Cowley upgrade) came of the production line. Why Austin Cambridge? Morris Oxford you can understand - it's the hometown. But Austin had no links with Cambridge. Maybe the Austin Birmingham just didn't have the right ring to it. Also in 1959, the Cowley plant was tooled up for the production of the Morris Mini Minor (at the same time, Longbridge manufactured the Austin Se7en. The Mini name won out, and production continued in parralel with Longbridge until 1969 when Cowley was re-tooled again for the Austin/Morris 1100, followed by the Morris Marina (and later Ital) and the Austin Princess. After British Leylands industrial failings of the late 70s, and it's reputation for low build quality was harming sales, a deal was done with Honda to co-design and co-build cars. Cowley was chosen as the venue for the first fruits of this partnership - the Triumph Acclaim - and continued with production of the Rover 200, 400 and 800 series. Also on the production line were the Austin Maestro and Montego - envisaged as the saviour of the Austin-Rover Group, but again harmed by build quality and reputation. By 1988, the Rover Group was sold to British Aerospace, who in turn (in 1994) sold out to BMW. By 2000, BMW retained the Mini name (and the Cowely Plant) and sold off the remainder of the Rover Group. The Cowley Plant was redeveloped and re-named Plant Oxford, and now produces solely the Mini (in it's many variants).
In 1977, ITV launched a new Police-based drama - The Professionals. Set in the Police Department CI5 - a unit that sat somewhere between the Metropolitan Police and MI5, and invariably busied itself with terrorists threats, kidnapping, and driving Ford Capris very fast around the Docklands area. It was led by Commander Crowley, and it's 2 chief protagonists were Bodie and Doyle. The forenames of the characters were rarely - if ever - spoken (even though they are listed on wikipedia), I like to believe that the first name of Cowley was Morris.
Also in 1977, the Sex Pistols effectively peaked having a Number 2 single (some argue it was Number 1) with "God Save The Queen", and a Number 1 album in the shape of 'Never Mind The Bollocks' - which despite all the hype, hoo-hah, and general blowing of smoke, still ranks as one of te greatest rock albums ever released. By January 1978, the band effectively fell apart on stage in San Fransico. John Lydon returned to England (with the assistance of Warner Bros records, as Malcolm McLaren basically cut him off) and began assembling Public Image Limited, Sid Vicious continued his descent into heroin addiction and cartoon punk buffonery, and Steve Jones and Paul Cook flew to Rio de Janeiro to record with Ronnie Biggs. Returning to England, Cook and Jones busied themselves with recording and re-recording tracks for the film The Great Rock n Roll Swindle - session bassist Andy Allan was brought in to assist. By 1979, John Lydon's court case against McLaren and The Sex Pistols begun in the High Court - upon hearing how McLaren had funneled the bands money into the film project without approval, Cook and Jones switched to Lydon's side of the fence, winning back control over their legacy. Cook and Jones, no longer able to operate under the Sex Pistols name they once again turned to Andy Allan to form The Professionals, and Virgin Records retained the contracts. Granted it wasn't a big jump from the Sex Pistols latter template (could it be anything else, it was the same people continuing to do what they knew best), 2 singles were released and although only scraped the charts, there seemed to be enough interest to continue (plus Virgin wanted a return on it's investment). However plans for a full album were nixed when it transpired that Andy Allan was not under contract to Virgin and filed a lawsuit claiming unpaid royalties. Allan was replaced in the band by Paul Myers (bass) and Ray McVeigh (guitar), and the foursome set about re-recording all the tracks to prevent any further royalty payments due. With the legal disputes ongoing, it was 6 months before another single was released from the re-recording sessions for the album. Again, low sales saw a downturn in The Professionals mood, and with Jones and Myers deepening heroin addiction and new producer Nigel Gray losing interest in the album project, the resultant album 'I Didn't See It Coming' was maybe not in-line with early expectations and promise. In retrospect it is a very good album - a bit formulaic perhaps, and some of the songs maybe needing a bit of extra work. The Professionals de-camped to America for a 6 week tour in support of an album that neither they nor thew audience were particularly impressed with. Part way through the Tour, the band (minus Steve Jones) were involved in a car crash which placed them in hospital before returning to Britain and disbanded. The Professionals reformed in 2015 for a one-off show (without Steve Jones, now permanently resident in America), and again in 2016 for a benefit show for Steve New of The Rich Kids. The following year, Paul Cook and Tom Spencer reformed The Professionals and 2 further albums have seen the light of day since then.
The concept of Badge Engineering is basically taking a base model, and - usually through subsiduary companies - creating just enough difference in the look (and possibly mechanicals) to have a whole new car. BMC (later British Leyland) had many interchangeable Austin/Morris vehicles, and Wolseley, Riley and Vanden Plas were also in the mix, Latterly (under the Austin Rover name) the company entered into a badge-engineering partnership with Honda creating the Triumph Acclaim/Honda Accord and Rover 200 series/Honda Ballade. Throughout the 70s, Vauxhall and Opel models were built on the same platform (and later in the same factory), and there was further badge engineering with the Australian manufacturer Holden. Badge engineering also encompasses the licence production route where a company sells the rights to another manufacturere to build it's own version of a tried and trusted marque. The Fiat 124 / Lada partnership is probably the prime example of this. While the Fiat 124 may only had a relatively short life (1966 - 1974) it's licensing to Lada saw production of the boxy vehicle continue until 2010 - total sales of all variants of this vehicle exceed 25 million.
As the Fiat 124 was entering into production in 1966, the Rootes Group - home to the marques Humber, Commer, Hillman, Karrier, Singer, Sunbeam, Talbot - entered into a badge engineering exercise using their new Hillman Hunter as a base (under the Project Name Rootes Arrow). Rootes Group had been in existence since the early 30s and had spent a lot of time acquiring a stable of manufacturers. The problem was although they had the range to cover almost all bases of car buying, they were never the most relaible, quality built, or profitable companies. Often mentioned in the pantheon of great British Car Producers, but in truth often lagging being it's prime competitors. Chrysler - one of the US Big 3 - wanted a foothold in Europe and bought French company Simca in 1958. They expanded with a minor stake in Rootes Group in the early 60s, and by 1967 purchased a majority stake.
The Hillman Hunter was designed for the family car market, available in saloon and estate versions. There were also coupe versions and a panel van / pickup truck variant produced. Badge engineering, and the desire to use as many of the names it owned as possible, led to variants:
Hillman Arrow
Hillman Break de Chasse
Hillman Estate Car
Hillman GT
Hillman Hunter
Hillman Husky (panel van / pickup)
Hillman Hustler
Hillman Minx
Hillman Vogue
Humber Sceptre
Iran National Paykan (built under license, and continuing until 2005)
Singer Gazelle
Singer Vogue
Sunbeam Alpine (coupe)
Sunbeam Rapier (coupe)
Built around the same underpinnings, the majority were differentiated by trim levels (surely it would've been easier to use L, GL, GLS etc ?).
It was hoped that a single model with multiple variants could make strides in markets led by Fored Escort, Ford Cortina, Vauxhall Victor, Triumph 2000, Rover P6 - basically the hope was to nick market share from every car manufacturer. A bold plan, with a couple of issues - namely the build quality and company inefficiencies of old. Over it's relatively short life, due to the need to cut costs the range was rationalised to just the Hunter. In 1977, Chrysler sold out to Peugout, and although the Chrysler name (and later Talbot) continued for a while, the iconic names of the Rootes Group were consigned to history.
Hereford may not be the Rock & Roll Capital of the world - to be honest, it's probably the Perry Capital of the World, but not much else. Mick Taylor (the best guitarist in The Stones?) and Ellie Goulding both were born there. As were three quarters of The Pretenders (Martin Chambers, James Honeyman-Scott and Pete Farndon). But perhaps Hereford's most famous sons are Mott The Hoople.
Mott The Hoople were originally called The Doc Thomas Group featuring original members Mick Ralphs (guitar) and Pete Overend Watts (bass), joined by Stan Tippins on vocals. Drummer Dale "Buffin" Griffin and organist Verden Allen joined a year or so later, and the band renamed Silence. Silence piqued the interest of producer Guy Stevens, but was un-impressed by Stan Tippins. Ian Hunter - 30 years old, married with 2 kids, but desperately trying to make it as a professional musician - was selected as Tippins replacement. With a new frontman in place (with considerably more ego and stage presence - plus a curly perm and dark sunglasses - Silence renamed themselves Mott The Hoople and plunged into the recording studio with Guy Stevens.
It's fair to say what came out (released on Island Records) did not shift units, but did find an audience. However that audience failed to grow and by the time of album number 4, the band decided to call it a day. But one of that small audience thought he might be able to help. David Bowie sent a tape over containing a demo of "Suffragette City" in the hope they might record it. The band listened to it, but decided it wasn't for them and informed Bowie that they had now split for good. Never one to be beaten, Bowie phoned back 2 hours later announcing he had a new song for them to hear. This time, there was "something" there that appealed to the band, and "All The Young Dudes" was worked up and taken into the studio. With Bowie in the production chair, the single was a success followed by the album which somewhat vindicated the bands past 3 or 4 years of struggle. Further album and singles success followed in 1973, even with Mick Ralphs leaving in mid-73 to form Bad Company. At the start of 1974, it looked like Mott would break America but unfortunately exhaustion and band relationships put a stop to that. And then at the end of 1974, not long after Mick Ronson joined Ian Hunter left the band for a solo career (Ronson followed him soon after) which effectively spelled the end for Mott The Hoople. Their final single was "Saturday Gigs" in October 1974, was the last thing recorded by the band and the only Mott The Hoople studio track to feature Mick Ronson. "Saturday Gigs" tells the story of the band from formation to demise with thanks to their audience. IT also includes the line (in the 1972 verse) about how it all changed when they went to Croydon. Croydon has that effect on people - once visited, the world is never quite the same again. But in this case, the reference is either their visit to the Fairfields Hall in February (just after Bowie had presented them with "Dudes") or their return visit to The Greyhound as "Dudes" began to garner success.
When you've released an album as great as 'Heavy Elevator', you need to be certain that it's follow-up will hit from note one. And with the opening string crecendo of "Once Upon An Acid Glance" intoducing Hamish Hawk's Walker-esque baritone, he is certainly off to a good start. The lyrical poetry and references, and the (successful) attempts to weave in a word with more syallables than should fit the gap remain a continuum from his previous effort.
When followed by "Thinking Of Us Kissing" and "Elvis Look-alike Shadows", you'd be forgiven for thinking the album is front-loaded and will run out of gas at some point. It doesn't, it just keeps rolling along serving up more top tunes highlighting all aspects of Hamish's talent and delivery.
But ... great though it is, it just feels like it's missing "something" - that "something" that elevated 'Heavy Elevator' into an album that I'd recommend to anyone who'd listen. Let me be clear there is nowt wrong with 'Angel Numbers' - it is a very fine piece of work, and the strength of some of the songs may just elevate Hamish Hawk to greater commercial success and a wider audience. Certainly "Bridget St. John" and/or "Money" have the capacity to do just that, and "Dogeared August" would light up any festival.
And here comes another qualification: the more I listen to this album, the more it goes in. Still not wholly convinced (7 listens so far) - is is the track sequencing? is it the flow? is it my expectation of a closer cousin to 'Heavy Elevator' (it's the same band and the same singer, so it's not too far removed)? is it that the songs don't feel as honed as their predecessors? Maybe I'm just expecting too much in short time, and as I say more is revealed on each listen. I shall persevere, because there is a great album here - the songs stand on their own so maybe I just need to follow the ebb and flow of the album better.
One other takeaway - a line in the title track "Angel Numbers" had me searching out the etymology of mortgage. Everyday is a school day ...
Vauxhall Motors ... reputationally they may be considered dull and unreliable vehicles, but I've owned several with the Griffin badge, and apart from the Chevette teaching me rudimentary mechanics (a necessity rather than choice), they have have been (generally) fine.
Vauxhall was formed in 1857 in Wandsworth Road in the London Borough of Vauxhall (hence the name) It started as a pump and marine engine manufacturer, and then diversified into crane building. The company was renamed Vauxhall Iron Works. By 1903, Vauxhall built it's first car and then moved production to Luton (but retained the Vauxhall name). In 1907 the "Iron Works" was dropped in favour of "Motors", and by 1925 after relatively successful car building and sales was bought up by US company General Motors. GM now had presence in Europe, whilst Vauxhall retained an element of independence. The first fruits of this partnership came in the form of the 1930 Vauxhall Cadet (the first production car in the UK with a synchromesh gearbox) and it's first commercial vehicle in the shape of the Bedford truck. World War II focussed production on the military-spec Bedford trucks and vans, and as the War ended Vauxhall were one of the first to move back into the civilian car market. The bullet-proof Bedford Trucks, plus the smaller vans produced, obviously provided an income source to keep the car division afloat, as did the GM partnership as closer links were forged with the Opel Group in Germany and technologies shared. Vauxhall cars did sell, just not in the numbers to cause concern to Ford, BMC, or Rootes. In 1961, Vauxhall shared design and technology and took the German Opel Kadett (Oliver, if you've ever seen Top Gear) and re-bodied and re-badged it as the Viva, a small family car to compete with the Ford Anglia, Austin A40, Morris Minor and Hillman Minx. The original Viva (the HA model) was also made into a small van with the Bedford badge - this van stayed in production until the early 80s, with corporate customers including GPO/British Telecom, British Rail, Electric and Gas companies, and the Royal Mail (and is very likely to be the template for Postman Pat's van). Such was the success of the Viva in terms of sales and reputation, Vauxhall was able to overhaul it's range and the Viva went through 3 models - such was the success that the Mark 3 Viva was regular runner-up in the sales charts to the all conquering Ford Escort. Also in the 70s, the Viva range expanded to include the Magnum (with a modified front-end/headlight configuration and an 1800 engine squeezed under the bonnet) and a coupe version - the Firenza - with an even bigger 2300cc engine squeezed into the gap that was having trouble accommodating the 1800 version.
By 1979, the relationship between Vauxhall and Opel grew beyond sharing technologies, the companies were now sharing body shells, running gear and production lines. The production of the Viva (and the larger Victor) ended to be replaced by the same rangers in UK and Europe, just with different names and badges. By the late 1990s, the names were aligned and the only difference now is the badge on the front.
In 1977, the San Fransico Bay Area Punk scene was developing led by The Dickies, The Germs, The Go-Gos. Black Flag pushed the boundaries wit hthe development of Hardcore Punk (alongside similar developments on the East Coast where The Misfits were formed). Punk in 1977 America remained an East Coast preserve with The Ramones, The Dead Boys and Richard Hell & The Voidoiods leading lights. Add to that list Talking Heads, Blondie, Patti Smith and Television. and you can sort of see the frustration building on the West Coast. Into the world of Hardcore Punk rode a band who could see beyond the "Destroy" rhetoric and stage-diving, and add a political element to the lyrics and (often un-noticed in the frenetic pace) some un-punk musical flourishes (soul, jazz, prog, r&b, rockabilly, whatever fitted the moment).
The Dead Kennedys formed in 1978 - East Bay Ray (guitar) found his bandmates via a newspaper advert, and was joined by Klaus Flouride (bass), Jello Biafra (vocals) on vocals, Ted (drums) and the simply named 6025 (aka Carlos Cadona, rhythm guitar). They went straight into the demo studio and started picking up live gigs wherever they could. Controversy was never far away as a result of their chosen name - particularly when they were booked to play a show on the 15th anniversary of JFK's assassination. Jello Biafra (never one to hide from an opinion) expalined that the band's name was not on attack on the presidential family, but a poetic explanation of the death of the American Dream. 6025 left the band just 8 months after joining, leaving East Bay Ray on sole guitar duties. Their debut single "California Uber Alles" came soon after. As a result of their name and reputation, finding a record label proved a fruitless task, so East Bay Ray and Jello Biafra formed their own Alternative Tentacles label for Dead Kennedy's product (they did eventually pick up distribution deals from IRS in the US and Cherry Red in the UK). In short order, second single "Holiday In Cambodia" was released followed soon after by debut album 'Fresh Fruit For Rotting Vegetables'. The album had more musical nous and tunes than it's contemporary hardcore Punk brethren, but it was in the UK where they were most successful rising to the higher reaches of the Indie Chart. 'Fresh Fruit ...' contained re-recordings of their previous 2 singles, and 1 more was single lifted -"Kill The Poor" - giving the Dead Kennedys a Number One single (on the UK Indie Chart). Nestling at the end of the album was a 1964 song that has a literal translation of Long Live The Meadows. That title sounds like it should be a hymn, so "Viva Las Vegas" has more of a romantic ring to it. The song written for the 1964 Elvis Presley film celebrates the bright lit city built so Frank, Sammy, Dean and other Rat Pack guests could get away from it all and drink, gamble and entertain. The song is a celebration of the city, but after the satire and politicking (and some slight lyrical tweaks) the Dead Kennedys reading gives with a slightly different, less celebratory feel.
