Ladies and Gentlemen, (I'm) Stranded!
Ad-Hoc Posting Schedule
Willkommen Leser, Down-Loader, Lurker und Teilnehmer alle.
It might have come to your notice that I'm not a regular poster of love and understanding, which you'll just kinda have to get used to. I will however, now and again, have bursts of creativity and if it was to please the massed hordes, who chose to visit this insignificant page, to supply some input on the direction and type of music you would like to sample (before going out and buying yourself a copy) this little communication will not have been in vain.
I will also say now that some of the outstanding music already available to sample will be reaching their 30 days without a click threshold, where by they're deleted by the host.
Many thanks for reading this far...and please feel free to interact.
Ladies and Gentlemen, (I'm) Stranded!
Needless to say, the Dead Boys fitted right in with the rest of the bands that played at C.B.G.B.'s or Max's Kansas City. Fed up with the wimpy crap that was popular rock at that time, they, with the Ramones and many other bands, got up on stage with a mission to piss off and annoy. Eventually, they got the recognition they so deserved and thusly, this album was born. With perhaps surprisingly great production from demi-famous '70s rocket Genya Ravan, the five-some found something sonically smack in-between the US garage/punk heritage of the past and the more modern thrashings from overseas.
Stone cold rock classic "Sonic Reducer" starts things off (amusingly) with all sorts of phased drums and other fripperies that later generations wouldn't consider punk at all. That said, it's still blunt, brilliantly sung by Stiv and kicks out the jams with messy energy. Other all-time greats include the perfect bored-and-needing-kicks anthem "Ain't Nothin' to Do" and the thoroughly wrong "Caught With the Meat In Your Mouth." There's even a rock oldie -- a cover of "Hey Little Girl" live onstage at spiritual home CBGB's. And why not? With great punk rock and great rock, Young, Loud and Snotty perfectly describes the sound and essence of this record.
Northern England Ghetto Music
I've had real concerns about posting this one...and if anyone with ties to the band or publishing companies feels that this post should be edited to remove the links, please let me know and I'll take them out. Otherwise, have a listen, enjoy and then go out and buy the album...
And always play this album loud!!
Not only is this a towering achievement in the post-punk movement, deserving to be mentioned in the same breath as fellow Mancunian LP's "Closer" and "Real Life," it is arguably one of my favourite, and sadly, one of the most overlooked, début albums of all time.
If there is one adjective that springs to mind immediately when listening to Colossal Youth, it is endearing: lead singer Alison Stattons unpolished lilt, the delightfully off-kilter drum machine, the prominent bass, the explorations of negative space and quiet guitar melodies; all these conflated ensure charm. The drum machine especially ensures an introspective and low-key atmosphere; would-be garage rock anthems ‘Include me out’ and ‘Brand New Life’ are tempered and pared down into punk conceptions at their most minimal. Elsewhere, the rollicking opener ‘Searching for Mister Right’ casts a spell from the get-go, all propulsive rhythm and ethereal vocals. ‘Salad Days’ is a gorgeous wistful ballad, conjuring images of sunshine and laughter long since past. Singling out specific tracks seems redundant however; this is an album that begs to be listened to as a whole, enthralling and addictive as it is. That said, the sparse arrangement of the album does begin to grate after a while. Moreover, though it may seem unusual to cite the albums consistency as a flaw, the lack of stand-out tracks and the similarity of the pervading atmosphere of each song does mean that the album can become stale after repeated listens.
I alluded earlier that ‘Colossal Youth’ is a post-punk album, but that is not strictly true. Though it gets classified as such, pigeon-holing the album into that genre does a disservice to the originality at work here. It resemblance to post-punk is tenuous, and I believe it is only called such because that at the time there would have been nothing else to call it. It bears more in common with the indie genre of today. Glimmers of it are found in the xx’s self-titled, in the gentle sonic explorations of Beach House, but no-one has made an album quite like this. It stands alone, humbly, entreating the listener not with noise or with gimmickery but with earnestness and a quaint, unsentimental beauty. I can only recommend you let it coax you in. Lose yourself in the beguile and sprawl; this one is a hidden treasure worth searching for.
MUSIC FOR PLEASURE
Mega Post Of Panto-Goth, New Wave, Synthpop
I just walked in to find you here, with that sad look upon your face
Based in Shepherds Bush,
west London, The Passions' music was grounded mainly in Barbara Gogan's voice
and Clive Timperley's delicate echoplex guitar work. Before forming in 1978,
most of the group's members had played in other groups. Timperley was formerly
with the 101ers, while drummer Richard Williams and singer/guitarist Barbara
Gogan were in the punk rock outfit The Derelicts.
Espousing the same
post-punk, gothic ethic that brought bands like Siouxsie & the Banshees to
the forefront of the burgeoning dark wave genre, the Passions' 1980 debut,
Michael & Miranda, suggested that they were at least on the same track.
Off-kilter jangle out of step with the bass and drums defined the opening
"Pedal Fury," placing the band firmly in quirk territory, a point
that the Passions continued to reiterate across the rest of the set. Picking up
the pace on "Love Song" or slowing it down across "Man on the
Tube" and then doing both on "Obsession" (which puts Barbara Gogan's
vocals so far away from the mic for the sake of atmosphere that it sounds like
she's in another room) really didn't add much punch to the Passions' gloomy
intent. It's easy to see their roots, they're glaring. But so they were for all
the other bands rising at the time. Stilted and lean, the songs on Michael
& Miranda just don't measure up against what the Passions would do a little
later or against what their peers were doing at the time. Singles
"Hunted" and "The Swimmer" were followed by their major charting
song, "I'm in Love with a German Film Star"
Spanners In The Works Go Start Your Gang...
A devastating début and one of the finest albums, not only of the punk era, but of the late 1970s as a whole.
Crossing the Red Sea With The Adverts was the summation of a year's worth of gigging, honing a repertoire that (jagged, jarring, and frequently underplayed though it was) nevertheless bristled with hits, both commercial and cultural. "No Time to Be 21," "One Chord Wonders," and "Bored Teenagers" were already established among the most potent rallying cries of the entire new wave, catch phrases for a generation that had no time for anthems; "Bombsite Boy," "Safety in Numbers," and "Great British Mistake" offered salvation to the movement's disaffected hordes; and the whole thing was cut with such numbingly widescreen energy that, even with the volume turned down, it still shakes the foundations.