Is that a Moog?

Bear in mind that this was the end of the 1970s.  We’d seen reports about Kraftwerk on Tomorrow’s World, but the idea that a British band could arrive on the scene with a number 1 single like this was pretty unthinkable, as far as I recall.  As I say, bear in mind that this was 1979 and we were still getting over the fact that Punk had (all but) been and gone, and New Wave was serving up more accomplished guitar-based fare.  Even today, this sounds pretty extraordinary – I don’t think I’ve ever tired of hearing that synthesizer hook, nor Numan’s clipped vocals.  Did they ever better this?  I don’t think so.  Here’s a live version, courtesy of The Old Grey Whistle Test, and a second version which matches the sound of the single more accurately.  The black eyeliner remains a constant.

This morning, I heard Elvis Costello on the radio, reminding me of one of his classics.  Next, I’m going with a version of the song that came to mind, but one recorded by another artist.

Punk rock electric guitar

Again, I forget what it was that brought this back to mind yesterday, but having watched and listened this morning, this record takes me straight back to the 6th form.  Was there ever a better time than the mid to late seventies for brilliant pop?  This was 1979: punk, post-punk, new wave, whatever you want to call it.  Good times, innovative bands, bonkers clothes, unpredictable haircuts, made-up names.

I really know nothing about this lot (apart from the front man being called Nicky Tesco), but I still have the single in my meagre collection and I rate it as one of the best tunes of its time.  Listen out for the guitar chord progression bit (I think that’s the correct term) from about 1:42 – not really what you’d expect in a song by this lot.

Earlier today I heard a tune from The Who.  Time I added one of theirs to my choices.

Utter Madness

I don’t think I would have thought about or rated this as one of my all-time favourites, but when I came to look it up after yesterday’s entry, it struck me that this has a genuine British charm, while reminding me of a carefree happy time in my life so I decided it should definitely be included.  It’s not quite a goose-bump-giver, but it lifts the spirits and shouts its Englishness with pride and confidence.  Too English?  I don’t think Madness ever made an impression across the pond, which is another reason to cherish their unique style.  The band emerged from that really innovative post-punk, new wave era and was probably the first time I came across ska as a music genre.  Baggy Trousers was perhaps the first of their releases to really confirm that they had a unique sense of fun, while coming up with simple, exuberant pop songs with videos to match.  If proof were needed, my son has insisted on watching this about 28 times in a row.

I was wondering where to go tomorrow when along came a monster tune on the radio.  Some sisters on top form.  Oh brother!

Roxette? Roxanne.

For the 16-year-old me, this record was something of a revelation.  Another trio, with just bass, guitar and drums, but here was a unique sound.  Sting’s voice was unlike any other at the time, as far as I recall, and there was something in Stewart Copeland’s drumming that hadn’t been heard before.  I guess the fact that this became a major hit record which now feels nothing less than a mainstream recording rather belies the fact that it was the late seventies and it was quite obviously about a prostitute.  This kind of stuff used to be banned by the BBC, didn’t it?  The Police became huge, of course, but I’d argue that they are another of those bands who never really bettered their debut hit.  No doubt the facts about record sales will tell a different story, and there are many other Police records that I loved in my late teens, but this has a certain timeless quality that makes me yearn for those days before I’d even sat my O Level exams.  Post-punk musicianship like this proved that we didn’t have to go back to the overblown days of prog’ to seek new guitar heroes or decent songwriting.  Would this be classed as New Wave?  Who cares?  It’s a great pop song.

Next, I think I’ll shift forward to the recent past and treat you to a young female singer-songwriter who has touched a nerve.

Woking Preserve? Well, er….

Having been immersed in prog’ and some pretty heavy rock in those early years as a boarder, it was incredible to live through the arrival of the punk movement and then the rapid development into the more musical New Wave phase before we said goodbye to the seventies.  I was aged from approximately 14 through to 18 years when all this change was happening – perhaps the perfect age, although being confined to a rather strict military boarding school didn’t exactly encourage the buying in to the full range of clothing and hairstyles.  In truth, there aren’t too many fixed memories of the time.  I do remember being on a bus driving through London and one of my classmates told me about somebody called Johnny Rotten and another called Sid Vicious.  I thought the names sounded daft; we then saw Mohecan haircuts and clothes with safety pins and black bin liners.  City types with bowler hats and umbrellas began to look like something from the previous century.

A year or so later, the word went around that this new band were playing in suits and ties.  Not very punk, was it?  Things had already moved on.

I first saw this band at Portsmouth Guildhall in 1979 or 1980, then saw them again at the same venue within a few months.  I have no particular memories about the music played, but I remember Weller wielding his guitar with the Lichtenstein Whaam! image and I remember plenty of spitting from the crowd, which ensured I stayed fairly well back from the mosh pit.  There are many tunes I could have chosen, but I wanted to throw this one in first as I’m rather fond of Mr Weller in his more mellow hat.

Thanks to the guitar that has just come back into my mind, tomorrow’s choice will mark a guilty pleasure.

 

 

 

I reckon British Steel was not such a good career choice

Not long after the Sex Pistols were banging on about there being “no future”, this band came up with a plan for one hapless young chap.  Nigel was to have a future in British Steel; clearly they had no idea that the business would become defunct in 1999.

I don’t know if you’d call XTC post-punk or New Wave.  Whatever.  Another debut single which I don’t think they bettered although they have a pretty healthy catalogue of great pop tunes, at least one of which (not Senses Working Overtime) may crop up somewhere down the line.  The pounding drum- and bass-driven groove holding this tune together gives it that edge that marks it out as a classic recording of the late seventies.  At least it was something different at the time and I’d say that it still feels fresh today.

I seem to remember that the regular front-man Andy Partridge (although bassist Colin Moulding is on lead vocals here) suffers from chronic stage fright, so the chance to see them play was limited at best.  I never did.

Another video I haven’t seen before.  Slight disturbing.  Sorry about that.

A complete shift tomorrow, prompted by hearing them in session on the radio just now.  A band with punctuation.  That’s all I’m prepared to say!