Themes From Great Cities
It might have come to your attention that I'm not a regular poster of love and understanding, which you will just have to get used to. I will however, have bursts of creativity where I move completely randomly from post to post with no rhyme or reason. I have recently posted a few singles (7 & 12”) and the odd bootleg which have been received very well by all who visit. More of the same will continue as you, dear readers, seem to be enjoying them.
Some of the rips are my own, but many more are from other blogs and I’m just sharing the wealth. If other bloggers out there wish to share the rips from my posts, please as I do, host them yourself. To combat this, the FLAC files that are over 6 months old will be replaced with MP3 files.
Finally I am happy to re-up old posts where the link has expired. Please comment in the relevant posts comments box.
The commonly used "Irish Clash" tag is a lazy one, but there can be no denying the influence that Strummer and co had on SLF. Band leader Jake Burns has never made a secret of his admiration of the London legends, and cites his first spin of their classic self-titled debut as a key moment on his road towards forming his own group. The Clash's imprint can be found all over his songs too, with a similar balance of grit and melody appearing in the records more up-tempo moments. There's even a reggae crossover here in the form of their Bob Marley cover "Johnny Was," which along with the classic singles lifted from the album (more on them later) ranks among the highlights.
As well as being songwriter in-chief, Burns also acts as the single most important component of the band's sound throughout Inflammable Material. The record's production is red raw, but even less polished is the singer's voice, an intense, powerful and yes, angry weapon which gives the majority of his songs their added edge. Even more impressive are Burns' lyrics, which provide absolutely everything you'd want from an album made in such desperate context. As far as openings go, the shrill cry of "Inflammable material is planted in my head/ It's a suspect device that's left 2000 dead" takes some beating, and the album is packed full of similar moments of introspective genius. Take "Wasted Life" for instance, a stinging anti-militant anthem packed with refrains such as "I won't be a soldier/ I won't take no orders from no-one/ Stuff their fucking armies/ Killing isn't my idea of fun" which ring just as true today as they did when they were written 37 years ago.
"Wasted Life" and the aforementioned opener "Suspect Device" make up two thirds of a trio of singles which are quite simply stone-cold punk classics. The third, "Alternative Ulster" was also the most successful, topping the UK's independent chart but more importantly providing perhaps the most frank statement of dissatisfaction with their homeland on the whole record. The rest of it isn't half bad either, and can pack just as strong a punch. In true punk fashion, the band experienced a backlash to the raging blast of "White Noise," with many accusing them of being racists despite the fact that the song's underlying message is of quite the opposite stance. Not so controversial but equally thrilling are the likes of "No More Of That" and "Breakout," but amid those standard punk moments it's "Barbed Wire Love" which brings the biggest surprise. As its title alludes, it's lyrical core is as abrasive as Burns' other songs, but this composition also shows his more tender side, displaying a versatility which the band would come to expand on with subsequent releases.
Really, the only misstep here is finale "Closed Groove," a song which holds a similar level of lyrical brilliance as the 12 to it, but fits them around a melody which sounds pathetically amateur. Burns himself has never held back in his criticism of it, claiming that he's never rated it as a song, and deeply regrets including it an album where it simply doesn't fit. Aside from that though, there's not really much that you can fault with Stiff Little Fingers' debut. Its singles may rank as clear high-watermarks, but the same could be said of just about any classic punk album of its time, and the album tracks can certainly hold their own anyhow. They may have arrived a little late and thus missed out on the hysteria surrounding the genre's earlier bands, but Inflammable Material was just about as genuine as punk rock got, and for that reason alone it deserves to grace anyone's collection.
Standing On A Beach With A Gun In My Hand…
By Debra Rae Cohen
Sal Solo: Not really, because we came here with “Guilty” before MTV started. You know, “Guilty” was released in 1981, and the first time we came to America all we did was we went to a big kind of concert place in Manhattan called The Ritz. They were sort of introducing the New Wave of British bands, so I think that the week before us was Adam And The Ants and the next week was gonna be Spandeu Ballet then Duran Duran and then a few months later we came back and did a bit of a tour where we played Chicago and D.C. and some other places (I can’t quite remember them all) but this was probably the spring or the summer of ’81 …
SS: Yeah, I think that was sort of strange in a way, because it was always really a guitar rock band, and we were always doing the stadium gigs and really, it was just as near to U2 as it was to Spandau Ballet or something like Human League, as you say. And a lot of people didn’t really understand that, because they thought that the fashion was only about beat boxes and so on. But in a way, new movements in music, I think, generally speaking, kind of happen by accident. They’re not planned. I don’t think that a group of bands get together and say we’re going to start a new wave of music; it’s just a case of being in the right place at the right time. What was called the New Romantic thing at the time … I remember the first time that phrase was ever used. It was in one of the rock papers in the UK (it was NME or Sounds or something) and I think it was a member of the public that wrote in and said something about the New Romantics and mentioned Classix Nouveaux, Ultravox … And Japan was the other band, I think. All of us were groups that had been around a little while before that, but we weren’t really noticed because it wasn’t a fashion then. Interestingly, well, Ultravox was more kind of electronic than most of those early groups, but it was still more regular drums-and-guitars type stuff.
Teenage Warning isn't a classic album by any means. It's very limited in what it does (but then again so was most punk) and the song-writing isn't always the best but somehow I find even this lack of craft endearing , something which would probably make them puke but then how elementally punk is that. The aforementioned tracks are the strongest but I also like "Never Again " , "The Murder Of Liddle Towers" and "Police Oppression " but really though pretty much the album whole is a blast ...a one dimensional one but a blast none the less. Mensi sings with goggle eyed fervour and it's always great to hear a band who sounded genuinely angry. Why aren't there any bands like this around now? (If there are and I have missed them please educate me) The world is (arguably) more up the spout now then it was then so there is still plenty to be irate about. Maybe Mensi was right...... maybe no one was listening.
But from a critical standpoint, it's a shame because the group's self-titled debut is far more in the realm of post-punk and early experimental electronica than that of Jordache and plastic earrings.
The album opens with "Modern Love is Automatic." A cold rushing wind blows across the speakers before a Berlin-ish synth line descends. An aggressive, but sturdy drum and bass line march forward, not dissimilar to Joy Division's early programmed-music experiments. Finally, vocalist Mike Score sings in a restrained, robotic voice, lamenting that in the modern (80s) age, emotions are as much driven by marketing and corporate interests as they are true affection. Certainly, such a sentiment is more in line with Zounds than Kajagoogoo.
Likewise, "Modern Love is Automatic" could have been slipped into a mid-period Bauhaus album and no one would have been the wiser. Score somewhat mimics the ghostly wail of Peter Murphy while gothic, intricate guitar work floats in the background. Much like Murphy, Score laments the loss of a love and vows to hold true for all time, giving the slightest of nods towards vampirism - something only a young man could sing and get away with. The song closes with multi-tracked wailing which has, in time, become the stock vocal effect of Goth albums.
The album's true masterpiece and darkest cut is "Standing in the Doorway." A Kraftwerkian pulsation starts the piece as the sounds of a machine blip and beep. Then suddenly, a thunderous snap cuts off the machinery and the song tears into what could be called a more punk Tubeway Army jam. As a sinister line creeps in the background, Score screams at an unidentified woman "Standing in the doorway, I can see you!" It's not clear if he's a stalker or a husband come home too early, but his menace seems genuine. He says little else because really, that's the only threat he needs to make.
Even "I Ran," which is often thought of as the song of the 80s, becomes a different creature when listened to in the context of its surrounding brothers. Where it has become a song used as the backdrop for cruising one's convertible along a shore line, in isolation, it is a much darker song. Opening with a minor chord synth rumble, the song then snaps forward and tells the tale of grasping for an idealized version of something and unable to grasp. Perhaps because the chorus is so catchy, rarely does the listener stick around for the end, where the guitars crumble before self-destructing in a violent din.
A Flock of Seagulls' first album isn't necessary a long lost punk classic. It's classic, of course, but not strictly punk, or even post-punk. But without question, it has elements of those genres and uses them to their greatest extent. Perhaps that's why this album is so threatening to modern music critique. Instead of giving a full chance to a multi-textured and clever combination of darker music, it's easier to focus on silly haircuts and file it away neatly in a drawer, mislabelled as it may be.
Overnight, they accidentally changed the look of all the rock bands of the time from the obligatory spandex, eye liner and tinsel, to rough biker jackets, engineer boots and goatees. Mötley Crüe declared them to be their favourite band and immediately restyled themselves for the "Girls, Girls, Girls" record.
Zodiac Mindwarp & The Love Reaction grew in notoriety, touring the world and America, co-headlining arenas and theatres with Guns N' Roses and found themselves at home playing festivals and baseball stadiums with Iron Maiden. After attending a Zodiac Mindwarp & The Love Reaction concert at the Hammersmith Odeon and giving it his seal of approval, Alice Cooper took to the studio and recorded the Zodiac Mindwarp tune "Feed My Frankenstein", which was later performed in the film "Wayne's World"... The critical acclaim of Zodiac Mindwarp & The Love Reaction did, however, cause some rare misfortune, when they lost their young naive bass player to the lures of The Cult. Zodiac Mindwarp covered Born to be Wild because he thought they could do a better job than the Cult (on Electric). The band soldiered on regardless. Sometime later, in Paris, Slam Thunderhide, their drummer, decided to put down his sticks to become a go-go dancer in Vancouver. Outstanding!
If there was one word to describe Lush, it would be understated. Hardcore shoegazers are most of who are aware of their significance to the genre's development through the late 1980's and early 1990's. But while starting a genre is quite an accomplishment, the band that popularized and mastered it is usually the one that takes all the glory (three guesses who). But while shoegazing would blossom into being mainly comprised of dense soundscapes and psychedelic effects, Scar shows how minimalistic songwriting and simplicity can accomplish the same goal. Scar's biggest strength lies in its ability to convey atmosphere and mood with a minimum of production flourishes or instrumental finesse. Simple guitar riffs and uptempo drumming throw the seasoned listener off with a very different sound altogether. "Baby Talk" beings with an upbeat bass intro before the rest of the band comes in and vocalist Emma Anderson repeats the lines "Swallowed her down, she's inside me. She's struggling now, she can't break free. And my eyes are closed, my lips are sealed. She can't escape but I can feel." Morbid lyrics like these add to the eeriness of the hypnotic guitar riffs. The album highlight "Scarlet" makes use of some dissonant riffs over angelic vocals and repetitive drumming to create a unique and eerie atmosphere far more sinister than most of Lush's genre contemporaries with a roaring crescendo closing it out.