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.