Vinyl #14 - The Only Ones

"Another Girl, Another Planet" (7", 45 rpm)

Someone once described this as the best rock song ever written and it's hard to disagree with that. I'm not sure where I first heard it when it came out in April 1978 but it was probably the John Peel show. It knocked me sideways and I remember buying it as soon as I possibly could from my local record shop (Focus Records in Waterlooville), getting it home and playing it time after time. In fact I can't remember ever playing the B side which was unusual for me.

I also remember that it was NOT a hit record, and I just couldn't understand why that was the case when it is such a brilliant and hook-laden song. Subsequently it was re-released a few years later and I think it charted and I think it's also been used in various TV series. 

Back then I also had no idea that the song was about lead singer Peter Perrett's heroin addiction. Innocent days indeed...

Here's the beauty:

https://youtu.be/lKuc3faQAEs

Vinyl #13 - The Monochrome Set

"Alphaville" / "He's Frank" (7" single, 45 rpm)

Not a lot to say about this except I remember buying this single in a record shop in Drayton, a district in Portsmouth, when it first came out in 1979.  I think I must have been visiting a girlfriend who lived nearby in Cosham because I'd have had no other reason to go there!

I've always had a soft spot for both songs, again on the always-reliable Rough Trade label (RT005 so not long after it was formed). I never bought anything else by The Monochrome Set although I think they are still going. But both songs still sound great, off-kilter indie with enigmatic lyrics. Here they are:

https://youtu.be/7jSqLJsDJgw

https://youtu.be/oTl_CBiKd7c

Vinyl #12 - Sheila Hylton

"The Bed's Too Big Without You" (7" 45rpm)

As punk withered and died, and we all emerged into the 80's, my musical tastes diversified and Island Records always seemed to produce great records.

I had no idea who Sheila Hylton was, but the clue to what makes this record so good is in the small print on the label. It's one of my favourite tracks by The Police - Sting wrote it for their second album "Reggatta de Blanc". And it was arranged by Jamaican rhythm maestros Sly & Robbie who also played the drums and bass that propel the song forward. And having one of Kingston's top producers Harry J just about seals a sure-fire winner.

And that's about it, I've never bought anything else by Sheila Hylton but I still love this single.

Here it is:

https://youtu.be/MHG-hI5tMbE

Vinyl #11 - The Clash

"The Cost of Living EP" (7" 45 rpm)

Released in May 1979, I bought this because basically I bought anything The Clash released, and it also featured four brand new tracks. On initial listening you could tell they were moving on musically - developing more sophisticated and complex songs and arrangements - away from the three-chord in-your-face sonic assaults of their earlier stuff.

Looking back it was a clear bridge between their earlier agit-punk and the multi-faceted sonic landscape that would be the 'London Calling' album which was released six months after the 'Cost of Living' EP.

It also provided them with a hit - by covering the Bobby Fuller Four 1966 hit 'I Fought The Law' - they immediately broadened their audience (although of course The Clash lived up to their vow of never appearing on Top of the Pops). I love both versions of the song, I also loved playing it when I was in Aeroplane Blondes.

'Capital Radio' was actually a re-recording of an earlier track given away on flexi-disc with the NME, this version having more depth and power although also with a slightly indulgent and over long outro. 

The other two tracks were the Strummer/Jones originals which really marked the move forward. I've always had a soft spot for 'Gates of the West' which featured Mick Jones on lead vocals doing his best Mott the Hoople impression.

It all came in a great 7" gatefold outer sleeve and inner sleeve.

For me personally it was a time when I had been out to work for nine months, was finding my feet in the 'adult' world (although I was still only 16) and it felt great that both me and my musical heroes were pushing on forwards.

The songs:

https://youtu.be/_W-lUtlRpvQ

1. I Fought The Law 00:00 2. Groovy Times 02:46 3. Gates Of The West 06:17 4. Capital Radio 09:46

Vinyl #10 - Echo & The Bunnymen

Echo & The Bunnymen - "The Killing Moon"

I was never a massive fan of Echo & The Bunnymen, something about Ian McCulloch's cocky scouse-about-town character really grated, but they released some sublime singles, and 'The Killing Moon' is the best.

The chorus is a classic earworm which soars and then just keeps soaring even higher - it's best heard on the album version, all five glorious minutes of it. Just when you think the chorus repeat is fading, it comes again and leaves you wanting more.

This is the only piece of Bunnymen music I've ever bought - vinyl, CD or download. But it's one of my favourite singles.

Here it is:

https://youtu.be/LWz0JC7afNQ

Vinyl #9 - Robert Wyatt

Robert Wyatt - "Shipbuilding" (7" single)

Released in August 1982, this had a special significance for me as my Dad served in the Falklands War of that year, specifically on the task force flagship HMS Hermes. 

So Costello's superb lyrics really resonated with me. It was his comment on the nations reaction to the Falklands campaign but expressed in a totally original way. The lyrics juxtapose the jobs and wealth brought to communities by shipbuilding, with the death and sadness caused when those same ships are used in combat.

Co-written with Madness producer Clive Langer who wrote the jazz-tinged lilting music, it's one of those records that works on many levels but like most masterpieces, it provokes the listener to think beyond the immediate hit of a 'nice song' into something deeper. Which is exactly what Costello intended of course.

Wyatt is the perfect deliverer of the message, although Costello also recorded a version which was released on the 'Punch The Clock' album in 1983 and is well worth checking out for the sumptuous trumpet solo by famed jazz man Chet Baker, which isn't on this single.

A recognised classic, best listened to with headphones in a quiet place.

Links (Wyatt version then Costello's)

https://youtu.be/Res3-YX4X8g

https://youtu.be/rlcHnp5FEdc

Vinyl #8 - The Jam

The Jam - "David Watts" / "A Bomb In Wardour Street"

This was The Jam at their creative peak - it was 1978 and they were moving beyond the sheer energy that dominated their earlier releases, but before the chart domination and straight-to-number-one of their later releases.

The songs are from the third album 'All Mod Cons', incredible really to think that Weller was only 19 when he wrote the songs for the album.

Having said that about Weller, this single was a double A-side but it was the cover of the Kinks song 'David Watts' that got all the airplay on radio. What was very unusual was that the lead vocal was by Bruce Foxton, the bassist, and not Weller. And their aren't many Jam songs when that happened. Written by Weller hero Ray Davies, the song is based on someone Davies knew at school, and was gay, which meant in the 60's the message had to be subtle - although re-listening to it, it's not that subtle.

The other A-side is one of Weller's angriest and direct social commentaries, especially the hate and violence that punk had started to attract. It was a theme he would re-visit in 'Down At The Tube Station At Midnight', but this was an angry 19 year-old from Woking pleading for those intent on causing mayhem in the capital to see the error of their ways and where it all might end (apocalypse!).

I was lucky enough to see The Jam at Portsmouth Guildhall at this time, they were a brilliant live band and for a three piece they made a great sound. 

Here's the songs:

(Have included live version with Weller in complete Kinks mod look, check out how young he looks)

https://youtu.be/YC0_NyIxw7A

https://youtu.be/-tLIZsijVwg

Vinyl #7 - The Special AKA

The Special AKA - "Gangsters"/The Selecter - "The Selecter"

1979 was a strange year and was crying out for something new. I was getting bored with punk/new wave which was inevitably becoming more watered down and commercial. The original punk bands were developing in different ways – some better than others – and as a 17 year-old I wanted something new and fresh.

Lo and behold up comes this single, the first 2-Tone record, a double A-side with The Special AKA (subsequently becoming The Specials) on one side and The Selecter on the other. It’s ‘Gangsters’ by The Specials that made the impact and led the charge of the new ska revival that produced The Beat, Madness and others. 

The tune is actually a re-working of a 1964 Prince Buster ska song called ‘Al Capone’ and I think it went Top 10 in the singles charts which in those days was a shed load of sales. The brains – some would say genius – behind The Specials, including the writing of this song was Jerry Dammers.

Two great albums followed in the subsequent years before the wheels fell off, Dammers having nothing to do with the current Specials line-up that now rakes in the money through touring and re-hashing the old hits which they didn’t write. Without him they’ve recorded nothing new in about 30 years which just about says it all.

Nonetheless, ‘Gangsters’ remains a gold nugget, a song which genuinely changed what the youth of ’79 were listening to and influencing countless other bands. Not many records do that. I think I might even call it a classic. Here's the music:

https://www.youtube.com/watch?v=lgCZN1rU5co

https://www.youtube.com/watch?v=czVEty7-n6E

Vinyl #6 - The Rezillos

The Rezillos - "(My Baby Does) Good Sculptures"/"Flying Saucer Attack" (7" single)

This is just one of those records that you can't get out of your head - definitely the A1 side - '(My Baby Does) Good Sculptures'. (I've always liked a song title with brackets - see The Clash in my last post).

A brilliant melody, funny lyrics, a rocksteady beat and a up-in-the-mix bass line that doodles all over the place. What else could you want - now or in 1977?

The A2 side also crackles along although for me it never quite reaches the peaks of Sculptures.
The Rezillos were from Scotland and this was their second single, but their first for a major label. Both songs were recorded in Edinburgh and I prefer the production on these to the ever-so-slightly polished versions that they re-recorded in New York for their still fantastic debut album "Can't Stand The...Rezillos"

Their main songwriter - as with both of these songs - was Luke Warm. Not his real name of course - it was the pseudonym of guitarist Jo Callis. He left The Rezillos shortly after the album was released, joined a group called The Human League and hit the songwriting jackpot by penning many of their big hits including their biggest and multi-million selling single "Don't You Want Me Baby?"

Probably the best career move he could have made - think of the royalties.

Vinyl #5 - The Clash

The Clash - "(White Man) In Hammersmith Palais"/"The Prisoner" (7" single)

I can still remember the expectation and noise when The Clash released a single, and I vividly remember the excitement about this particular purchase. These were the days when bands released singles that were not on ANY album - The Buzzcocks, The Jam et al all did it, and The Clash were no exception, this single fitting that generous strategy.

To hear The Clash in all their raw, powerful glory - before the edges were rounded off for commercial singalong succcess ('Should I Stay' 'Rock The Casbah') - this is essential listening. A powerful mix of punk and reggae, elevated to the next level by the venom of Strummer's vocal delivery of his own lyrical commentary on the factionalised and racist state of the UK in 1978. It contains the memorable line:

"If Adolf Hitler flew in today, they'd send a limousine anyway"

The production - unusually by The Clash themselves - is muddy and indistinct - and the record is all the better for it. As a stand alone piece of social commentary it is up there with the best. No fuss, no picture cover (unusual at the time), Strummer wanted you to listen up and listen carefully.

As a 16 year-old I remember buying it, rushing home, slapping it on the turntable in my bedroom and playing it over and over, gradually deciphering Strummer's lyrics. His delivery doesn't make it easy, but that's the point, you had to listen carefully, over and over till you got it - in every sense. In those days there was no internet to look up the words.

The B side is no slouch either; a Mick Jones rocker sung by him and just another quality Clash tune. Not on any album either.

A truly memorable record that stands the test of time, and is probably just as relevant today.

Vinyl #4 - The Normal

The Normal - 'T.V.O.D'/'Warm Leatherette' (7" single)

A much prized possession this single – the first record on Mute Records which was formed by one Daniel Miller who played everything on these tracks. Most people know ‘Warm Leatherette’ from the sumptuous cover of it by Grace Jones with Sly ‘n’ Robbie, but it was actually the B side, with ‘T.V.O.D’ taking first place. Both songs stood out from the crowd in 1978 – remember this was the year when punk/new wave hit its stride with blazing guitars. This really was different (whilst making a big nod to Kraftwerk, Can etc) and was a taste of what was to come in the UK in a couple of years time (paving the way for Soft Cell, Blancmange and indeed Depeche Mode).

Spurred on by the positive critical reaction Mute Records (i.e. Daniel Miller) became the home of the new UK electronica scene in the late 70's/early 80's with the first records by Depeche Mode (and look what happened to them); Yazoo (including the  ‘Only You’ smash) and later Erasure. Other less well known acts still sound like a roll-call of the hip in the early 80’s – Fad Gadget, D.E.F, The Birthday Party and the Silicon Teens (another vehicle for Daniel Miller).

In a word: hypnotic. Here are the songs:

https://www.youtube.com/watch?v=S5QErPDNcj4

https://www.youtube.com/watch?v=YhsQqpYEDzE

Vinyl #3 - Subway Sect

Subway Sect - "Ambition"/"A Different Story" (7" single)

One of my favourite ever singles, one that has lost none of its sheer drive and impact. Subway Sect were the 'almost nearlies' of the punk movement, they were there at the very beginning alongside the Sex Pistols and The Clash (with whom they shared a manager Bernie Rhodes). Indeed, they were on the bill at the original 100 Club Punk Festival in 1976. Led by songwriter and maverick Vic Godard (on the back of the sleeve below) they leave us with this masterpiece, on the Rough Trade label of course. The 'A' side is difficult to categorise - there isn't a lot else that sounds like it. The 'B' side is no slouch either. Both combine un-punk like keyboards and clever, astute lyrics. 

I saw them live only once, supporting Buzzcocks in October 1978. I still remember them playing 'Ambition', rawer than the record but still magnificently booming around the cavernous Portsmouth Guildhall.

Here's the song:

https://youtu.be/FlXdf7dTz7I

Vinyl #2 - The Cure

The Cure - "Killing An Arab"/"10:15 Saturday Night" (7" single)

The debut single from The Cure on the independent Small Wonder Records, a brilliant label that released many fine records in the punk/new wave era. I probably first heard this (as with many of the records in my collection) on the John Peel Show on Radio . Broadcasting 10pm to midnight, Monday - Thursday, Peel's programme was a must listen for those of us wanting to hear exciting, cutting edge new music rather than the sanitised elevator music that Radio 'Wonderful' broadcast most of the day.

Back to The Cure, this was when they were a drums/bass/guitar trio from homely Crawley, before they became doom-meister giants and certainly before Robert Smith grew his hair big and discovered red lipstick. In fact he looked like a regular home counties guy at his stage.
This song - and it's very fine B side - featured sparse production, angular guitars and thought provoking lyrics. All bound together with memorable melodies and hooks and a rock steady rhythm. The excellent first album 'Three Imaginary Boys' was more of the same and is worth checking out.

Very soon after this they changed direction, discovering doom, electronica and black clothing. Smart move as it turns out, selling out stadiums and gaining global adoration. But this still remains a great single...

Vinyl #1 - Buzzcocks

Buzzcocks - 'What Do I Get'/'Oh Shit' (7" inch single)

I'm going to start with a very special record for me. Aged 15, in February 1978 I got on a train at Havant and travelled to Guildford for a job interview with Lloyds Bank. Guildford seemed like the other side of the world, and I distinctly remember what I was wearing: light blue nylon trousers with a generous flare, and a dark blue blazer with a generous lapel. 

I arrived early and decided to seek out a record shop, where I was delighted to see this record for sales. Duly purchased I then wondered what I would do with it - taking a punk rock single into a job interview with a bank probably wasn't the wisest move. I can't remember what I actually did but I got the job!

I never tire of this song, it's a classic Pete Shelley slice of teen love angst, buzz saw guitars and melodies to die for. The b-side still gets an occasional outing at live shows, and powers through its 92 seconds.

A month after I bought this I saw Buzzcocks live for the first time, supported by The Slits, at Portsmouth Locarno. They didn't disappoint.