A Personal Word on the Last Day of The Year

(There will be links to various things throughout this post so click on them to enjoy music and further information. Cheers for reading this blog in 2017. - Doug at S4L)

I trust that all of you who visit Soundtrack4Life have had a good Christmas and I apologise that I have not been on the ball enough to even offer up any seasonal music or even a Christmas Greeting to you. On this last day of 2017 I wanted to look back a little bit over the year on the blog and then try and look forward a little to what 2018 might bring us.

For the first time since 2011 I managed to post less than 200 blogposts which I am a little disappointed by as I had begun 2017 with some high hopes for this blog but it didn't quite pan out as I had thought due to various issues that I will mention as we go on through this piece.

One of the things you would have noticed on the blog is that some of the earlier posts from this year and also from the archives is that a lot of pictures are missing. This was due to a problem with Photobucket where I ended up losing my previous account and therefore thousands of pictures that were personal and also used for the blog. I have tried in a few places to rectify this but it is such a labour intensive task that I fear I must just let it be! The same goes for dead links etc I have been able to update some but going back over a decade of posts is a tough job and takes so much time and I was able to redo a few under the banner of Rewind or Revisiting...

Throughout the year there have been a number of series running:

 Looking back to 1977 with the series 40 Years of Punk and New Wave.  

The continuing series 45RPM .

A Short Lived Music is The Answer Series.

The S4L Radio Show Playlist Series.

and The Best of 2017 Series.

As is the circle of life we said goodbye to a few musicians who have had an impact upon us down through the years: Mike Kellie (The Only Ones), Overend Watts (Mott the Hoople and Producer), Chuck Berry,  Fats Domino and Tom Petty, to name but a few.😢

Continuing with that subject: Personal loss was also something that came this year as on the 28th December as my Mum passed away after a long battle with cancer. 😢 I had said over on Facebook that I attribute to my Mum my love of all kinds of music and whilst she did not always approve of my musical choices and purchases but I think she would have been proud to know just how her own love for music had made an impact in my own life.

As for health matters, that has actually played a huge part in not always being so active on the blog. I got diagnosed with Epilepsy earlier in the year and went through a period where I was having a number of issues relating to that and it meant that I was finding it difficult to think and give the time to writing that I really wanted to (sometimes a piece can take between 2-5 hours to prepare and my brain was struggling to focus for such long periods and so I didn't get around to posting half the stuff that I wanted to). This diagnosis of course had the knock on effect of meaning that going to gigs is something that I have had to cut back on even more (I haven't really been out to many shows in the past few years due to other health issues that I won't trouble you with at this time!). In February this year I attended The Gathering down in Wales for a weekend of music by Mike Peters and The Alarm and also went to see Stiff Little Fingers at the Barrowlands in March with friends who had come up from down South. I found both to be a bit of a struggle for me, what with all the flashing lights etc and therefore came to the decision that my gigging days would have to come to an end until I can get some control of my epilepsy issues. 

Whilst this is discouraging it hasn't dampend my love for music one bit and over 2017 I have tried to spotlight some new music as well as the old. The lights have been shone upon new albums/videos from Dropkick Murphys, Alison Krauss, Rhiannon Giddens, Ruts DC, John Mayall, The Darling Buds, Paramore, The Primitives, The Alarm, Blondie, Die Toten Hosen, Little Steven, Lindsey Buckingham/Christine McVie, Quatro, Scott and Powell, Henry Priestman and Les Glover, and of course many more that can be found in The Best of 2017 Series.

As for the Old, I have posted such a diversity of musical sounds that I scarely know where to begin. There was Janis Joplin,  The Waitresses, Dr. Feelgood, David Bowie, MC5, Keith Hudson, Slade, Stiff Little Fingers, Patti Smith Group, Evanescence, Johnny Moped, Bruce Springsteen, The Photos, The Cult, Ramones, Neil Young and Crazy Horse, Buddy Holly, Otis Redding, The Damned, The Waterboys, and many more.

One of my favourite posts of the year would be from January as part of the 45RPM Series spotlighting a single that I had never heard of before but it brought out a level of musical anorakness in me that had me smiling for ages. The particular post was on The Snakes and their cover of The Flamin' Groovies' song Teenage Head.

What about the way ahead? Well in 2018 I will try my best to post as often as I can and offer up the best old and new music that I enjoy as well as trying to continue with the S4L Radio Show Playlist and a few other things. It might not be everyday that I post but I do hope that you will come back from time to time to check in and enjoy some music.

Thank you to the many who continue to revisit this blog. I am always amazed when I discover visitors from all across the world accessing this little place of musical respite and I trust that you will continue to maybe find something old and something new that thrills you and enriches your own love for music.

I wish you well for 2018 and in the words of Mr Springsteen I offer up this little verse that seems like a good parting shot for the year that has passed:

Land of Hope and Dreams

Live in Perth, Australia 2017

40 Years of Punk & New Wave: The Sounds of 1977 #9 Playlist

It's been many months since I last did a Playlist for The Sounds of 1977 (April was the last one!). Thought I should rectify that and unleash another twenty tracks that were lighting up my teenage life!

The Playlist

On The Playlist

The Punk - Cherry Vanilla
During a tour in early 1977 Cherry Vanilla (Kathleen Dorritie) was backed by the band who were also the support The Police.

I Just Want To Be Myself - The Drones
B-Side of Bone Idol released on 1st October 1977.

Get Off The Phone - Heartbreakers
Taken from their Debut Album L.A.M.F. that was released 3rd October 1977.

I Gave My Punk Jacket To Rickie - Mary Monday
Released in the USA on Malicious Productions.

Innocents - John Cooper Clark
From the Debut EP on Rabid Records.

 Ripped and Torn - The Radiators From Space
Taken from the Debut Album TV Tube Heart on Chiswick Records that was released in October 1977. Vocalist Steven Rapid left the band shortly before the album was recorded and Phil Chevron took over vocal duties.

Man Who Dies Every Day - Ultravox!
B-Side of German Released Single Frozen and also was featured on their second album Ha!-Ha!-Ha! which was released 14th October 1977.

Withdrawal - The Unwanted
Taken from their 7" Debut released as the sixth single from Raw Records. Prior to this they had appeared on The Roxy London WC2 album.

The Bitch - Slaughter and The Dogs
Flip side of Cranked Up Really High and whilst it was a Double A-Side this track rarely gets a mention when looking back over their singles as Cranked Up was a much better song. The Debut 7" was the first single to be released on Rabid Records.

Wild Youth - Generation X
Second single from Billy Idol and Co.

Song of The Street (What Have We Got) - Sham 69
Not the actual Single Sided 7" version but the John Peel Session version that was broadcast in December 1977 ("No swearing now, this is the BBC").

1.2.X.U. - Wire
B-Side of the Debut Single Mannequin.

Rockaway Beach - Ramones
First single from the third Ramones album Rocket To Russia that was released in November 1977. Showing how incredibly thoughtful the label were they released one of the finest Summer anthems during Winter!

Quit This Town - Eddie and The Hot Rods
Follow up to their smash hit Do Anything You Wanna Do. The single reached #36 and was released in December 1977.

I Am A Cliché - X-Ray Spex
B-Side to their impressive Debut Single Oh Bondage Up Yours! This was the only single they did for Virgin Records.

One Way Street - The Saints
Released in September 1977 as a Double 7" Pack. It did not chart (This Perfect Day was the only single of theirs to actually chart in the UK reaching #34).

Runnin' Riot - Cock Sparrer
"I can't stand the peace and quiet" - and so begins the chorus to the Debut Single from Cock Sparrer on Decca Records.

Flying Saucer Attack - The Rezillos
Was a Double A-Side along with (My Baby Does) Good Sculptures and was their Debut release for Sire Records.

Whole Wide World - Wreckless Eric
One of the greatest singles ever released on Stiff Records. A stone cold classic in my book.

Into The Future - The Vibrators
Opening track of the Debut Album Pure Mania and the B-Side to one of their most brilliant singles ever in Baby Baby.

40 Years of Punk & New Wave 1977: Complete Control - The Clash

 Complete Control / City Of The Dead - The Clash

CBS

Produced by Lee "Scratch" Perry and Mickey Foote

Released 23rd September 1977

UK Chart #28

 A-Side

    Joe Strummer - lead vocals, lead guitar
    Mick Jones - lead and rhythm guitars, backing vocals
    Paul Simonon - bass guitar
    Topper Headon - drums

Complete Control

Written by Joe Strummer/Mick Jones

 They said: "Release 'Remote Control'!"
But we didn't want it on the label
They said: "Fly to Amsterdam!"
The people laughed and the press went mad

Oooh
Someone's really smart
Oooh
Complete control, that's a laugh

On the last tour my mates just couldn't get in
I'd open up the back door but they'd get run out again
At every hotel we was met by the law
Come for the party, come to make sure

Oooh
Have we done something wrong?
Oooh
Complete control, even over this song!

You're my guitar hero!

They said we'd be artistically free
When we signed that bit of paper
They meant: "Let's make a-lotsa money!
Worry about it later"

Oooh
I don't understand
Oooh
Complete control, let me see your other hand!

I don't trust you
Why do you trust me?
Huh?

All over news spread fast:
"They're dirty, they're filthy
They ain't a-gonna last!"

(Total) This is Joe Public speaking!
(C-O-N control) I'm controlled in the body, I'm controlled in the mind!
(Total) This is the punk rockers!
(C-O-N control) We're controlled in the price of the first drugs we can find
(Total)
(C-O-N control)
(Total)
Parent control (C-O-N control)

We gotta work it up and bring it up and fight it and write it

(C-O-N control) That means you!
I kick it, I fight it, I get it out, write it
(C-O-N control)
I gotta kick it up

 

B-Side

     Joe Strummer - lead vocal, backing vocal, organ, lead guitar
    Mick Jones - backing vocal, lead guitar
    Paul Simonon - bass guitar
    Topper Headon - drums
    Gary Barnacle - saxophones

The City Of The Dead

Written by Joe Strummer/Mick Jones

 

This is the city of the dead
As we lie side by side in bed
I'd do something else instead
But it is the city of the dead

We went out kickin' around
But you got drunk an' fallen down
An' I wished I could be like you
With the Soho River drinking me down

In the city of the dead
Fall in love an' fall in bed
It wasn't anything you said
Except I know we both lie dead

Don't you know where to cop
That's what New York Johnny said
You should get to know your town
Just like I know mine

While all the windows stare ahead
An' the streets are filled with dread
Every nation in the world
Slinks through the alley after girls

What we wear is dangerous gear
It'll get you picked on anywhere
Though we get beat up we don't care
At least it livens up the air

But someday's we hide inside
All courage gone and paralyzed
Sniff that wind of ugly tension
Today the jerks have got aggression

It is the city of the dead

****************

I think if you ask most fans of The Clash what their Top Three songs are it is pretty much certain that Complete Control would feature among the many answers (the other two I'm guessing would be between White Man in Hammersmith Palais, London Calling and White Riot).

Earlier in 1977 The Clash had earmarked Janie Jones as their second single. Mick Jones had even told Melody Maker that would be the new single but the powers that be at CBS decided whilst The Clash were out on The White Riot Tour that they would be the ones to decide what record was going to be put out and that was Remote Control backed by a live mono recording of London's Burning.

This certainly did not sit well with the band and they were angered that CBS had undermined them by releasing the single without their permission.

"They said, we'd be artistically free
When we signed that bit of paper."

The Clash fought back in the best way they could by making sure their next single would not only be an absolute stone cold classic, but a song to bludgeon those very people who had made such grand promises to them and had betrayed their artistic integrity!

This fight for "Control" was something that The Clash would have to persist at pretty much all their days at CBS because Remote Control was not the first fight and it certainly wouldn't be the last! (Think Bankrobber single, London Calling and Sandinista! albums and probably a few others as well).

Lee "Scratch" Perry was brought on to produce the single (his first non-reggae production). Perry had heard the band's cover of his Junior Murvin hit "Police and Thieves" and was moved enough to have put a picture of the band (the only white artist accorded such an honor) on the walls of his Black Ark Studio in Jamaica. When The Clash learned that Perry was in London producing for Bob Marley and the Wailers, he was invited to produce the single. "Scratch" readily agreed. But the band basically reworked his production by taking out much of the echo that he had put on it and brought the guitars more to front of the track. I have been yearning for years to hear that Lee Perry Mix of the song and 40 years on I have still never tracked a version down (so if anyone out there has a copy get in touch!). 

The other first for this single was that it was the first recording that Topper Headon appeared on as drummer for The Clash. Remember on the Debut Album and the first two singles (White Riot and Remote Control) that had been released Tory Crimes (Terry Chimes) had been behind the kit. His addition to the band certainly completed them and he brought a lot of talent to the table...drumkit!

(Cover of Promo UK CD Single 1999)

A live version of the song was included as part of the From Here To Eternity album in 1999 (recorded at Bonds International Casino, New York on 13th June 1981). A pretty tidy video was put together for it as well featuring the band live in action. City Of The Dead also featured on the album and was recorded at The Lyceum Ballroom, London 28th December 1978 (You can listen to the full show here!).

40 Years of Punk & New Wave 1977: Dancing The Night Away - The Motors

(7" UK Picture Sleeve)

12" Version

A-Side: Dancing The Night Away

B-Side: Whisky and Wine

Released on 7" and 12"

 Virgin Records

Produced by Robert John "Mutt" Lange

Released 9th September 1977

UK Chart #42

The album version is a little bit longer at over six and a half minutes.

********************

Dancing The Night Away

The Old Grey Whistle Test

Don't you just love musical history? Well, the anorak in me certainly does! The road to the Debut Single from The Motors was a long one and I previously outlined some of that history in a post on The Snakes  (who were Nick Garvey's band after he had left Ducks Deluxe in 1975) back in January this year.

Former Ducks Deluxe Bassist Andy McMaster and former Drummer for The Snakes (and also The Art Attacks) Ricky Slaughter teamed up with Nick Garvey and also Rob Hendry (Bram Tchaikovsky joined the band in May 1977 after his departure) and The Motors roared into life.

The band made their live debut at The Marquee Club on Wardour Street in March 1977 and a couple of days later recorded their Debut Session for John Peel on the 22nd March (and broadcast on 22nd April). By May they had been signed to Virgin Records and there followed some minor success with Airport being their biggest hit (reached #4 in 1978).

It's of course been questioned many times the place of The Motors in the world of Punk/New Wave because they were not really punks as such but I think that at least for their Debut Single and Debut Album for that matter they slotted into the New Wave situation. If you are wanting to be a stickler for things though it could also be that they fit the mould of the Power Pop brigade! 

Best not to argue though whether they fitted into one particular genre or not because ultimately their Debut Single I think is an absolute classic. I do prefer the 12" version to the 7" of course but the album version (as well as being longer) is the superior one to listen to I think.

40 years on from its release it is still a record that I go back to time and time again because it's so brilliant.

40 Years of Punk & New Wave 1977: Pretty Vacant - Sex Pistols

Pretty Vacant / No Fun - Sex Pistols

Virgin Records

Produced by Chris Thomas

Released 1st July 1977

UK Chart #6

A-Side: Pretty Vacant

 B-Side: No Fun

Roy Carr's Review for the NME 2nd July 1977

When you were used to a Singles Review just being a few lines it was quite remarkable that the NME basically gave Roy Carr an opportunity to give us a mini-essay about the greatness of the third single to be released by the Sex Pistols.  

For those who don't have such great eyesight I'll use a few quotes from the brilliant review just to give you a wee taste:

There are certain all-too-rare occasions when, without warning, a record comes hurtling out of left field...stops you dead in your tracks, floors your expectations, simply SHOCKS you, and promptly sets the adrenalin pumping around your system at then ten times the normal speed.

It happened to me (and I'm certain I'm speaking for countless others), the very first time I heard Little Richard scream "Awopbopaloobop", Chuck Berry motorvatin' through 'Johnny B Goode, The Kinks brutalising 'You Really Got Me', Keith Richard's fuzz guitar intro to '(I Can't Get No) Satsifaction', the psychotic delirium of Hendrix's 'Purple Haze', the we-ain't-gonna-take-no-more-of-this-crap angst of The Who's 'My Generation', The Velvet's cacophonic 'Sister Ray', the contempt with which Dylan spat out 'Like A Rolling Stone', hearing The Stooges' '1969' being played immediately after CS&N's 'Marakesh Express' one humid morning over a New York radio station a couple of weeks after Woodstock, Television's surreal 'Marquee Moon'...

  I experienced the same feeling this Friday when I received an acetate of The Sex Pistols' third single, 'Pretty Vacant'.

 ...Picture yourself trying to describe the sheer overwhelming impact of '(I Can't Get No) Satsifaction', 'My Generation', 'Raw Power' or even 'Dancing in the Street'. Truthfully, there aren't words. And unless you're terminally insensitive, you can't possibly fail to recognise the numbing shock of reality when, on occasions as these, it presents itself with all the subtlety of an earthquake.

 The Sex Pistols' 'Pretty Vacant' is one such instance.

 With this disc, the Pistols postively cream their closest competitors with muscle to spare.

 ***********

I noticed that you can buy the copy of the NME that this appeared in on EBay for £14.99!! Turning rebellion into money eh? 😉

If you can manage to read the whole thing, do so, because it's an epic piece of writing I think. It blew me away reading it way back in 1977 and still gives me the chills as I read it today 40 years later!

Oh, and the record by the way is pretty tidy. Every time I hear that guitar intro I'm transported back to my younger days! It's an absolute belter. It might not have been as revolutionary as Anarchy in the UK or as in the moment as God Save The Queen but it stands the test of time I think.  

Jamie Reid's artwork with the two buses depicting their destinations as 'Nowhere' and 'Boredom' is probably one of my favourite pieces of Punk Art.

The B-Side, a ramshackle version of The Stooges 1969 classic No Fun (that appeared on their Debut Album), stretching beyond six minutes was apparently from an older session produced by Dave Goodman.

The single has been reissued a number of times over the years with various picture sleeves and in various formats like Picture Discs and CD's as well as 7" and 12" Vinyl. You can check out all the different ones over on Discogs (Click Here). 

(Virgin Records Germany 2017 7" Vinyl Picture Disc Release)

NME Best Singles of 1977
1. Pretty Vacant - Sex Pistols
2. Watchin' The Detectives - Elvis Costello
3. Sex & Drugs & Rock 'N' Roll - Ian Dury
4. God Save the Queen - Sex Pistols
5. Sheena Is A Punk Rocker - The Ramones
6. Heroes - David Bowie
7. 2 4 6 8 Motorway - Tom Robinson Band
8. Waiting in Vain - Bob Marley & The Wailers
9. Do Anything You Wanna Do - The Rods
10. Alison - Elvis Costello
11. Roadrunner - Jonathan Richman
12. Spiral Scratch EP - Buzzcocks
13. Sweet Gene Vincent - Ian Dury
14. In the City - The Jam
15. All Around the World - The Jam
16. Complete Control - The Clash
17. Looking after No. One - The Boomtown rats
18. Peaches - The Stranglers
19. Oh Bondage! Up Yours - X Ray Spex
20. Solsbury Hill - Peter Gabriel
21. Looking through Gary Gimore's Eyes - The Adverts
22. More Than a Feeling - Boston
23. American Girl - Tom Petty
24. Short People - Randy Newman
25. Showroom Dummies - Krafwerk
26. Dirty Pictures - Radio stars
27. Orgasm Addict - Buzcocks
28. Red Shoes - Elvis Costello
29. Sound & Vision - David Bowie
30. Jamming - Bob Marley & The Wailers

Honourable Mentions to...
Blank Generation - Richard Hell
White Riot - The Clash
Do the standing still - The Table
Daddy cool - Darts
Dancing in the Moonlight - Thin Lizzy
Baby Don’t Change Your Mind - Gladys Knight
Whole Wide World - Wreckless Eric
Psycho Killer - Talking heads
Tryin’ To Love Two - William Bell
My Baby Does Good Sculptures - The Rezillos
Prove it - Television
Cokane - Dillinger
Don’t Dictate - Penetration
Lovers of Today - The Only Nnes
Love Lies Limp - Alternative TV
Uptown Top Ranking - Althea & Donna
Two Headed Dog - Roky Erikson
Straighten Out - The Stranglers
Born for a Purpose - Dr Alimantado
Ain’t Gonna Bump No More - Joe Tex

40 Years of Punk & New Wave 1977: Pure Mania - The Vibrators

🌟🌟🌟🌟

 Pure Mania - The Vibrators

Epic

Produced by Robin Mayhew and The Vibrators

Released June 1977

UK Chart #49

Side 1

Side 2

Personnel
    Knox - guitar, keyboards, vocals
    John Ellis - guitar, vocals
    Pat Collier - bass, vocals
    John "Eddie" Edwards - drums

Single On Pure Mania

A-Side

Baby, Baby

B-Side

Into The Future

 Released 20th May 1977

Did Not Chart

Live versions of two songs from the album were also released as a Single.

A-Side

London Girls - Live

B-Side

Stiff Little Fingers - Live

Released 26th August 1977

Did Not Chart

The girl who features on the Picture Sleeve was actually Knox's girlfriend at the time Carol Semaine.

Other Tracks Previously Released but Re-Recorded For Pure Mania

 Whips and Furs

RAK Records

B-Side to We Vibrate

Released 19th November 1976

Produced by Mickie Most

BBC Sessions

John Peel Session 28th October 1976.

Included Dance To The Music (Whips and Furs) and Sweet Sweet Heart.

John Peel Session 22nd June 1977.
Included Petrol, Keep It Clean, Baby Baby, London Girls, and She's Bringing You Down.

Live in 1977

Live at The Marquee.
This recording was not actually released until 1992 on Released Emotion Records as a Limited Edition. The London Girls Single was taken from this particular show.
 

**********

Strangely enough the album does not have an actual title track, though on their second album V2 they did open that record with a song called Pure Mania!

I never really understood people who accused The Vibrators of being "bandwagon jumpers" because the band formed in February 1976, a couple of months before even The Clash took up arms! Maybe people didn't like the fact that Knox was in his thirties and the whole Punk/New Wave scene was meant to be "for and by the Kids" - that's actually a total nonsense I think.

Within a month of forming they had their debut show at the Hornsey College of Art supporting The Stranglers (another bunch of "old" guys who also found a place in the heart of the Punk/New Wave scene) and of course they would be a part of the legendary 100 Club Punk Festival in September 1976.

Their performance at the 100 Club did raise a few eyebrows when Chris Spedding joined them on stage but it was a good thing for the band because Spedding recommended them to RAK Records (the label he was signed to) and within a couple of months the band had released their debut single We Vibrate / Whips and Furs (on the same day it was released, 19th November 1976, Chris Spedding and The Vibrators also released Pogo Dancing / The Pose).

1977 was a busy year for the band as they not only released their debut album Pure Mania but were out on the road in the UK, Europe and North America playing around 116 shows in total. Some of these dates were in support of Iggy Pop, and Ian Hunter besides headlining shows of their own.

What of the album you say? Well from track one to the end of track fifteen there's no let up. It's fast, it's furious, totally in your face rock and roll.

My favourite tracks on the album are: Into The Future, Baby Baby, Petrol, London Girls, You Broke My Heart, Whips and Furs, and Wrecked On You.

The only single to be released from the album (if you discount the live version of London Girls) Baby, Baby is a classic I think and stands out as probably one of their best songs ever (which is saying something when you consider that the band are still on the go today and still writing new material). It's amazing to think that it never got to the charts at all as it is a great poppy punk record on a par with the likes of what Generation X, The Jam and The Stranglers were releasing (they only ever had one charting single and that was Automatic Lover released in March 1978 and that only reached #35 but did get them a spot on Top of The Pops!).

The album was released all over Europe, Asia, America and Canada in 1977 and since its release it has been reissued a number of times on both Vinyl and CD.

The album is well regarded by some music critics and, 17 years after its release The Guinness Encyclopedia of Popular Music named Pure Mania one of the 50 Best Punk Albums of All Time.

Just incase you were not aware (where have you been hiding?) the song Stiff Little Fingers that appeared on the album was the inspiration for a certain band from Belfast to adopt it as their name.