Tag Archives: punk
Call it a list if you must, but an unnumbered one, about Public Image Ltd’s First Issue.
* Public Image Ltd’s debut album, First Issue, was never officially released in the United States, on any format, until Light in the Attic put together their 2013 archival release. (Light in the Attic)
* It wasn’t supposed to turn out that way (Trouser Press via Fodderstompf)
* Jah Wobble never played bass before being invited to join PIL by Johnny Lydon (Wikipedia)
* Are you fucking kidding me?
* Jah Wobble also beat up the assistant engineer of the album. Consequently the band was banned from Wessex Studios (Wikipedia)
* Edge ripped off the guitar sound of Public Image Ltd’s Keith Levene. Does Edge know this? (Wikipedia)
I’ve had questions asked of me as direct as ‘What do you think of the fact that The Edge ripped off your sound?’ and I just say ‘Good luck to him’. Some people say ‘A lot of people use your sound. Do you resent their position as opposed to yours?’ Actually I don’t, I put it down to good taste
* One maybe two songs were directed at former Sex Pistols manager, Malcolm McLaren (Wikipedia)
The single “Public Image” was widely seen as diatribe against Malcolm McLaren and his perceived manipulation of Lydon during his career with the Sex Pistols. The track “Low Life” (with its accusatory lyrics of “Egomaniac traitor”, “You fell in love with your ego” and “Bourgeoisie anarchist”) has also been regarded as an attack on McLaren, although Lydon has stated that the lyrics refer to Sid Vicious.
* Album closer/album filler, “Fodderstompf, “became an unlikely dance hit at Studio 54. (Allmusic)
But even with all of the calculated controversy seemingly built into the various cuts on First Issue, none attracted quite so much attention as “Fodderstompf.” Faced with a serious shortage of material to fill out the album and with its release date looming, Public Image Limited decided to conclude the project with a track 12:55 in length, consisting of no more than a disco beat, chattering synthesizers, a bassline, and Jah Wobble singing, shouting, and screaming the phrase “we only wanted to be loved” in a joke voice. Rock critics savaged the song as a deliberate attempt to rip off the public, but it became hugely popular at the Studio 54 disco in New York; the drag queens and hipsters sang and screamed right along with Wobble out loud on the dancefloor — nothing like that had ever happened at Studio 54. As it is perhaps the earliest extended dance mix that has little to do with disco or dub, it is apparent that “Fodderstompf” is an obvious precursor to the acid house and techno that began to evolve in the mid-’80s, although it is seldom accredited that distinction.
* Let’s not shit ourselves. Out of the entirety of First Issue, Fodderstompf is the least essential, and unfortunately, the longest cut.
* Although fighting money woes at the time, the video for “Public Image” was self-financed by the band. (Trouser Press via Fodderstompf)
* Did you see those clothes? The band’s sartorial choices also became a point of contention. (Trouser Press via Fodderstompf)
* Early reviews weren’t kind. To the single, or the album. From NME on “Public Image:”
It’s a shame, but Rotten will probably end up around I988 like Iggy Pop, being touted around by some businessman on the strength of the outrageous band he used to be with, making offbeat records that impress a certain section of art-groupies and trying to play it straight to young audiences who were too young to be touched when he was good and now just want to see him hurt himself with cigarettes. Never mind, thanks for the memories
Pete Silverton, writing for Sounds liked the album cover, and that’s it.
* Speaking of getting ripped off, the Allmusic review also pointed out similarities between First Issue’s “Annalisa” and Nirvana’s “Radio Friendly Unit Shifter.”
* Considering the troubles Lydon was having with the industry at the time of First Issue (the band were managing and booking themselves, while Lydon was suing McLaren), and considering the stress Nirvana’s Kurt Cobain was under during the recording of his second album, the similarities between the two may not be a coincidence.
* 2013 is a much better year for First Issue. Not only is it finally getting issued in the United States, but the band’s blend of dub, punk, and noise rock, so off-putting to critics and the record-buying public in 1978, sounds right today. Wobble plays his bass with the force of a Miami Bass Machine, but his lines are nimble, too. Lydon, is unpredictable, of course, and, a little indulgent. Levene’s guitar work, meanwhile, should be cited as influential, whether Edge ripped him off or not, as most would not come to recognize his racket as music until the hip kids in NYC picked up on it in the ’80s.
I ask this question because Fuck Button’s new jam, “The Red Wing,” plays out like a big beat slow jam from the days when The Chemical Brothers, Fatboy Slim, and, yes, The Crystal Method were the big boys of Electronica here in the states.
“The Red Wing,” is a far cry from when this duo of Andrew Hung and Benjamin John Power would manufacture obscure sounds from folding tables covered in electronic junk. When one gets their music featured during the opening ceremonies of the 2012 London Olympic Games, as was the case with Fuck Buttons, however, such a move to a cleaner, more polished sound can’t be a complete surprise. Did you really think they spent their licensing money from those Olympic Games on a new Mr. Microphone? Fuck Buttons new album, Slow Focus, will be released July 23rd on ATP Recordings.
The music of NYC noise-makers Pop. 1280 fills a very definite need in today’s society: Someone has to make music for the oncoming age of total electronic control. The NSA can’t soundtrack themselves as they’re sniffing every packet of data coming across the internet. Their servers are taxed enough already. Plus, they don’t care about living in an age where every movement is monitored. They are the monitors.
Enter, Pop. 1280, who are more than happy to channel our age’s understandable paranoia into dirty, creepy blasts of cyber-punk. They did so on their 2011 release, The Horror, and listening to “Lights Out,” from the forthcoming album, Imps of Perversion (August 6th on Sacred Bones), they aren’t about to stop chronicling the seedy side of modern, electronic life any time soon.
North Carolina’s all female garage punk band Barren Girls formed back in 2011. After catching the eyes and ears of Merge Records at a show back in September, they recorded this 4-song EP in their cotton mill practice space. The EP blows by at pretty scorching speeds, with only one song clocking in at over 3 minutes. Alter Ego (below) is the shortest song on the EP, it’s also the most powerful. It’s short blast of strained vocals and hi-energy music sounds like the bands rhythm section is in an all-out race to the finish with guitarist/vocalist Carla Wolff. You will definitely need to catch your breath when it’s over. Enjoy.
Barren Girls – Alter Ego from S/T EP (2013)
At first, listening to The Julie Ruin’s new single, “Oh Come On,” felt like homework. It’s Kathleen Hanna’s new band. Of Bikini Kill…The woman practically invented riot girl rock. And, being someone who likes to think he knows something about rock, I should give this a listen, right?. Sure, the guitars are crunchy. Hanna’s snarls test the limits of microphone tech. It’s still there. However, I wasn’t sold until the background singers came in with the least uninspired, “Oh Come On,” ever. It’s like they shot for vintage girl group and got teenage daughters who didn’t want to do their homework instead. The juxtaposition of just that little bit is brilliant and leads me to believe Hanna has more, much more to say. “Oh Come On” will be on The Julie Ruin’s new album, Run Fast, due out September 3rd on TJR Records.
Who out there expected Neko Case’s the first track to be released from Neko Case’s first album since 2009′s Middle Cyclone to be an uptempo rocker with feedback and solos? I’m not complaining one bit. We all know the woman can sing, but it’s nice to hear that big, blustery voice of hers used to drop F bombs instead of the usual, albeit usual as in stunning, way she sings those sweeping ballads. Case’s latest, entitled, The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You, will be released September 3rd on Anti- Records.
Superchunk’s “FOH” is power pop played at a pogo tempo. Superchunk have been doing songs like “FOH” for years with the same slithering guitars, the same bursts of static-charged feedback, the same bursting vein on vocalist Mac McCaughan’s forehead as every word is a strain, and, honestly, at this stage in their careers, I’m fine with Superchunk being reliable like that. Superchunk’s 10th studio album, I Hate Music, will be released August 20th on Merge Records and I’m buying.
Also coming due out in the coming months on Merge (9.3), is Idle No More, the new album by the garage rock, show-band, supreme, King Khan and the Shrines. We’ve already heard a surprisingly sweet turn at British Invasion pop with “Bite My Tongue,” and now we have something entirely different to get our ears around — the ’60s San Francisco hippie scene on speed (and with soul) sound of “Born to Die.” This man is on(to) something. I’m quite sure of it.
This is a content summary only. Click on the story to read the whole thing at InvisibleOranges.com