THE MONDAY MORNING HI-QUALITY VINYL RIP : Part Six : EVER FALLEN IN LOVE…

One of the greatest pop-punk records of all time was written in Edinburgh…..

In November 1977, Buzzcocks were touring the UK. Before a gig at the Clouds (also known as the Cavendish Ballroom) in Edinburgh, they stayed the night. Pete Shelley later recalled:

“We were in the Blenheim Guest House with pints of beer, sitting in the TV room half-watching Guys and Dolls. One of the characters, Adelaide, is saying to Marlon Brando’s character, ‘Wait till you fall in love with someone you shouldn’t have.’ “I thought, ‘fallen in love with someone you shouldn’t have?’ Hmm, that’s good.”

The following day he wrote the lyrics of the song, in a van outside the main post office on nearby Waterloo Place. The music followed soon after.

One of Pete Shelley’s greatest attributes as a songwriter was the ability to write about situations that could be taken by every listener as being completely applicable to their own lives. There can’t be any of us out there who could give the answer of ‘No’ to the question. It particularly appealed to my teenage sensations, when the girl(s) of my dreams were way out of my league, preferring the company of those a couple years older or those who weren’t total bookworms. It didn’t help that my tastes in music weren’t universal…..

But as the years have passed and relationships have come and gone, it’s very clear the song can apply at any time in your life and needn’t be about unrequited adolescent relationships that lead to severe bouts of self-pity. It’s also got a tune that is instantly recognisable.

I bought this back in the day in 1978 on 7″ vinyl, the only format it was issued in. I lost it a long ago and have never managed to replace it with a good enough copy without hisses, crackles and the occasional jump….very few of us took good enough care of the single. But, just a few weeks ago, while browsing in a shop in Glasgow, I found a near-mint first-edition copy of Love Bites, (complete with artwork insert) and from that LP, I can offer up both the single and its almost equally-marvellous b-side.

mp3: Buzzcocks – Ever Fallen In Love (With Someone You Shouldn’t’ve?)
mp3: Buzzcocks – Just Lust

JC

IT REALLY WAS A CRACKING DEBUT SINGLE (32)

I don’t care that these songs featured on the blog back in August 2016 as part of a series looking at all the 45s by Buzzcocks.  The words that follow are different….

Spiral Scratch is, without any question, one of the most important pieces of plastic in all history as it set the template for the DIY attitude that began with punk and still resonates today, probably even more so given how much new music is self-financed, promoted and released to the listening public.

The four-track EP came out at the end of January 1977, with the bands’s main protagonists – Pete Shelley and Howard Devoto – having been inspired to start up a band after initially seeing Sex Pistols play live down south and then promoting the now legendary show(s) at the Lesser Free Trade Hall in Manchester. Up until this point, the only way a singer or band could get product into the shops was through some sort of contract with a record company through which all the technical, administrative, practical, financial and legal stuff would be sorted out. It was also more difficult for any bands living or working outside of London to land any contract as the capital was where all the labels had their headquarters or satellite office if they were owned overseas.

Pete and Howard borrowed £500 from friends and family members (it equates to around £3,000 today). They went into Indigo Studios in Gartside Street, Manchester on 28 December 1976 working alongside a new producer called Martin Hannett , who, in keeping with the ethos of punk changed his name to Martin Zero on this occasion. The real hero of the session, however, is the uncredited Phil Hampson, the in-house engineer at Indigo who guided the band and the man at the controls through the three hours it took to record four songs, albeit it was Hannett/Zero who then spent a further two hours doing the final mixes….

………..except it has since emerged that just a few days later, in response to learning that Pete and Howard weren’t entirely happy with the end results, Hampson went back into the studio to do a little bit of remixing for free as the rest of the budget had to go on forming a label called New Hormones and pressing up the initial 1,000 copies.

It seems incredulous but while Hannett went on to form a production career with post-punk bands for the rest of his short life, Hampson went back to the bread and butter of what happened at Indigo which was comedy, cabaret and novelty records, most often driven by the demand from the nearby Granada TV studios. Spiral Scratch would be his only involvement with the punk/new wave scene – not that he was bothered as he thought the music was awful!

History shows that the EP quickly sold out its initial pressing and in due course would sell around 16,000 copies, initially by mail order but also with the help of the Manchester branch of music chain store Virgin, whose manager took some copies and persuaded other regional branch managers to follow suit.

Howard Devoto, almost as soon as the EP was pressed, announced he was quitting the band, going on to form Magazine, leaving the path clear for Pete Shelley to move centre stage and take lead vocal on a number of Top 40 hits in the ensuing years.

mp3 : Buzzcocks – Breakdown
mp3 : Buzzcocks – Time’s Up
mp3 : Buzzcocks – Boredom
mp3 : Buzzcocks – Friends Of Mine

Yup…..the best-known of the four songs wasn’t seen by the band as being their best.

JC

BUZZCOCKS SINGLES 77-80 (Part 13)

 

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And so we come to the 13th and final 45 released by Buzzcocks in their initial incarnation. The lyrics, written by Steve Diggle, kind of sum up how much of a chore it must have become trying to hit payola again now that the band had fallen out of favour.

Here in suburbia
There’s nothing left to see
Just want to spend my time running free

I’ve had enough of the day job
I can see farther than that
Just want to spend my time running free

The air of tension still is rising higher
Screaming emotions are singing to you
(No no no time no no no time)
(No no no time no no no time)

Here in the engine room
A pulse shouts for a word
Just want to spend my time running free

I’ll pull out condition
There’s no need to face facts
Just want to spend my time running free

You better make a move before sleeping gets you
You better shape soon before the weak things make you
(No no no time no no no time)
(No no no time no no no time)

Here in proles’ paradise
Experiments on the weak
Just want to spend my time running free

It’s a trick of the torment
You tend to forget yourself
Just want to spend my time running free

Your conscience may be changed as the plan gets harder
It’s just been rearranged to keep the strata
(No no no time no no no time)
(No no no time no no no time)

Your conscience may be changed as the plan gets harder
It’s just been rearranged to keep the strata
(No no no time no no no time)
(No no no time no no no time)
(No no no time no no no time)
(No no no time no no no time)
(No no no time no no no time)
(No no no time no no no time)

It’s a sad, resigned lyric and it has a similarly sad and resigned tune to go with it.  But very listenable.

The b-side is a really strange one.  I never knew it until more than 20 years later (see last week’s posting for an explanation) and the first thing that hit me was that it sounded remarkably like Pete Shelley fronting The Boomtown Rats (blame the sax and shout a long chorus).  Was What Do You Know? the departing shot at the record label bosses who behind the scenes were looking for Buzzcocks to achieve the same sort of mainstream success of some of their contemporaries?  If so, it’s a great two-fingered salute to all concerned.  Even if it’s not, it was a fine way to go out.

mp3 : Buzzcocks – Running Free
mp3 : Buzzcocks – What Do You Know?

Right who’s next for the Sunday singles treatment?

BUZZCOCKS SINGLES 77-80 (Part 12)

 

r-464676-1203267603-jpegThe fact that the final few singles from Buzzcocks sold in such few numbers means that they are now the most difficult to find on the second-hand market and are marginally more expensive to buy than the hits.

That’s one theory.  But it might well be the case that this particular single is more valued as it is something of a forgotten classic.

Strange Thing isn’t anything at all like the catchy near power-pop of the hits of the previous years.  Instead it’s more akin to the sound of many of their new wave peers – surely I’m not alone in listening to the music and hearing the sort of sounds that Weller & co. were taking to new unthought of heights of popularity?  The closing section in particular always brings to mind Private Hell from Setting Sons.

In keeping with what had happened with the previous single, the flip side was given over to Steve Diggle and this time he came up with something that proved he had indeed been playing close attention to the support band on the last big tour of 1979.  Airwaves Dream really does sound like Joy Division without the tricked up production values applied by Martin Hannett.

What I’m kicking myself about is that I didn’t buy the single on its release.  In fact, I didn’t discover these two gems until many many many years later when I picked up a cheap copy of the re-released and re-packaged Singles Going Steady CD which had been expanded to include the final four singles from that great era (the initial release of the compliation ended with Harmony In My Head/Something’s Gone Wrong Again).   Given that the younger me had felt let down by Are Everything I wasn’t expecting much from these unknown songs; it was a surprise that they both turned out to be pleasures.

It’s fair to say that the teen me might have struggled with Strange Thing/Airwaves Dream on its release as my mind and tastes would have been attuned to the poppier side of Buzzcocks, and so I’m glad it took me 20+ years to hear them for the first time.

mp3 : Buzzcocks – Strange Thing
mp3 : Buzzcocks – Airwaves Dream

Enjoy.

 

BUZZCOCKS SINGLES 77-80 (Part 11)

 

Moving forward to 1980 and what proved to be the beginning of the very end of things first time around for Buzzcocks.

They were no longer press darlings and the events of late 1979 when they had been blown out of the water on tour by their support band caused something of a crisis.

It would also seem, looking back, that they had fallen out of favour at United Artists and with no guarantees of hit singles the money spent on promoting and releasing the material was cut back.  Thus, the rather lacklustre sleeves as compared to the previous singles on the label.

It was also clear that the band were now being seen as a singles-only outfit which is why the first new recording from 1980 has ‘Part 1’ on the sleeve. Just how many ‘parts’ there would be in over the following months none of us knew.

mp3 : Buzzcocks – Are Everything
mp3 : Buzzcocks – Why She’s A Girl From The Chainstore

With the benefit of hindsight, Are Everything is not the worst thing you’ll ever hear in your life but on release it felt awfully flat and devoid of imagination in comparison to what had come before.  And the gimmick of it seemingly fading out and then suddenly bursting back into life again some 45 seconds from the end must have it made a difficult sell to radio producers.  And yet it sold enough copies to spend three weeks in the UK singles charts in September 1980, peaking at #61 which was more than You Say You Don’t Love Me had ever managed.

The b-side is a Steve Diggle number that seems to have its roots in the rough’n’ ready stuff of new wave bands hoping to be discovered on the back of a catchy shout-out-loud chorus without much else to back it up.

The end truly was nigh.

 

BUZZCOCKS SINGLES 77-80 (Part 10)

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As mentioned last week, the release of the third LP was always going to be crucial in terms of what happened next for Buzzcocks.

But before then, the Spiral Scratch EP was given a re-release and climbed into the Top 40 in August 1979.  A few weeks later a new 45 was released to precede the new LP.  It was a single now regarded with the benefit of hindsight as one of their finest but which on release was a total flop.

This must have been hard to take.  A single containing everything that had brought the band to the fore wasn’t playlisted by Radio 1, which in those days was basically a death sentence.

Unperturbed, the band announced a major UK tour to promote the new LP which they called A Different Kind Of Tension which, although it could be thought of as a swipe at their critics, was in fact the name of one of the new songs.

It was 1979 that I started going to gigs and I got myself a ticket for Buzzcocks at the Glasgow Apollo – looking it up now I can see the gig was on Friday 5 October.  I got along early, as has always been my practice, to catch the support act. This lot had been getting a great deal of coverage in the music press.

It was Joy Division.

The intensity and power of their set, which to be honest wasn’t universally enjoyed as there were a lot of slow songs which wasn’t quite what the audience were there for.  But their front man really made a huge impression.  The fact that Pete Shelley took  to the stage a short while later and opened with the words ‘excuse me while I put out my ciggy’ instead of blasting into a great hit from days of old showed that he knew the game was up and new bands were about to become the media darlings.

The album did hit the top 30 but no other single was lifted from it and released in the UK.

mp3 : Buzzcocks – You Say You Don’t Love Me
mp3 : Buzzcocks – Reason D’Etre

Decent enough old-fashioned b-side too.

Enjoy.

BUZZCOCKS SINGLES 77-80 (Part 9)

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As with all new music back in 1979, the first place you would get to hear it would be across the airwaves of BBC Radio One, 247 on the Medium Wave.

I’ve no idea what DJ was spinning the discs when this came but he did introduce it as the new single by Buzzcocks.  I thought he had made a huge error.  Yes, it did musically sound like them, but unless Pete Shelley had been replaced as vocalist by one of The Stranglers, then this was most certainly another group.

A couple of weeks later and I saw them perform the new single on Top of the Pops and the mystery solved itself when the camera panned over to the mimed performance and it was Steve Diggle who was doing the singing as Pete moped around in the background trying unsuccessfully to be a team player.

Maybe it was the criticism of the vocal delivery on ‘Happy’ that had hit home or maybe it was just that the lead guitarist had come up with the best available song for the next 45.  Harmony In My Head was as post-punk/new wave as it came but the record buying public didn’t fall for it as it spent just three weeks in the Top 40 and got no higher than #32 – it was a far cry from the heady days of Ever Fallen In Love less than a year previously.

mp3 : Buzzcocks – Harmony In My Head
mp3 : Buzzcocks – Something’s Gone Wrong Again

Three singles in 1979 had suffered declining sales.  The third LP was going to be critical…..as indeed was the UK tour that had just been announced.

BUZZCOCKS SINGLES 77-80 (Part 8)

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The Buzzcocks juggernaut showed no signs of slowing down as yet another brand new song became the latest 45 in March 1979.

However, this one didn’t do as well as hoped or expected, spending a miserly four weeks in the Top 40 and peaking at #29.

Not everybody would be happy nowadays.

I do recall there being something of a critical backlash against the band around this time.  Magazine had just released their second studio LP, Secondhand Daylight and its ambition and breadth led some to suggest that Pete Shelley was a bit of a one-trick pony incapable of lacing the Doc Martins of his former band mate. The fact that the new Buzzcocks single had the vocalist straining to hit the high notes was also a source of some amusement and ‘Happy’ took a bit of a caning when compared to what had been written before.

mp3 : Buzzcocks – Everybody’s Happy Nowadays
mp3 : Buzzcocks – Why Can’t I Touch It?

The b-side is a strange one.  A band which specialised in the classic 2-3 minute pop song put down something that stretched out over six minutes.  This could have been a pleasant surprise except for the fact that the song is not all that good and leaves listeners pining for the more simple shouty catchy stuff of old,

 

 

BUZZCOCKS SINGLES 77-80 (Part 7)

All the while that Ever Fallen In Love was riding high in the charts so too was Love Bites the album it had been lifted from.  Like many other bands who were coming to the fore in the post-punk/new wave era of 1978 Buzzcocks were quite prolific and it was no real surprise when it was revealed that a brand new song was set to be the next 45.

The problem was that Ever Fallen In Love showed no sign of drifting out of the charts completely and so United Artists delayed the release of its follow-up all the while claiming, with the support of the band, that it was even better than the big smash.

In the event Promises was eventually released in late November 1978 but it only reached #20 in the charts as opposed to the previous single’s #12 showing.  However, it is worth remembering that this particular single was in the shops in the run-up to Christmas 1978 – indeed it was in the Top 30 on Xmas Day – and it is very likely that it actually sold more copies and in effect became the band’s best-selling 45.

It is an absolute belter of a record which, if there hadn’t been an Ever Fallen In Love would probably have been held up as the band’s all-time classic.

mp3 : Buzzcocks – Promises
mp3 : Buzzcocks – Lipstick

The b-side uses the same tune as Shot By Both Sides, the debut single by Magazine – a song which had been attributed to Devoto/Shelley.  But Lipstick is attributed solely to Pete Shelley thus robbing Howard of some deserved royalties.

 

BUZZCOCKS SINGLES 77-80 (Part 6)

A bona fide classic and one of the greatest singles of all time.

mp3 : Buzzcocks – Ever Fallen In Love
mp3 : Buzzcocks – Just Lust

It charted for 11 weeks all told, spending 8 weeks in the Top 40, five of which were in the Top 20, peaking at #12.

That was back in September – December 1978. Almost 40 years ago (gulp!!)

Cracking b-side too.

There’s something unjust however, when a hugely inferior cover by Fine Young Cannibals in 1987 enjoyed greater chart success by reaching #9.

 

BUZZCOCKS SINGLES 77-80 (Part 5)

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I was really sure that Love You More was a much bigger hit than #34. I think it’s the fact that it hung around in the Top 50 for a while that leads to that conclusion but its chart run was 41,34,35,35,60,53 and so yup, mid-30s it was.

What it did do was get the band their first all-important appearance on Top of The Pops in July 1978 thus instantly making their name and sound recognisable to millions more people overnight. Which sort of set them up for the rest of the year. In the meantime, enjoy the magic of the 1min 45 second pop single and its rather spendid b-side:-

mp3 : Buzzcocks – Love You More
mp3 : Buzzcocks – Noise Annoys

Till next time.

BUZZCOCKS SINGLES 77-80 (Part 4)

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February 78 had seen them hit the charts with What Do I Get?. The following month saw the debut LP Another Music In A Different Kitchen hit the shops and to many a surprise, none of the old singles were included among its eleven tracks.

The record label were keen to promote the LP with a single. The band weren’t too keen – they were already well advanced with plans to get a second album im the can and new songs were earmarked for singles. But in the end two of the ‘Kitchen’ tracks were chosen and put out as a single a full month after the LP had gone on sale. The sleeve was also a bit on the lazy side – unarguably the least attractive of them all.

mp3 : Buzzcocks – I Don’t Mind
mp3 : Buzzcocks – Autonomy

In the circumstances, reaching #55 wasn’t too bad.

BUZZCOCKS SINGLES 77-80 : (Part 3)

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After the self-inflicted wound of Orgasm Addict, the band enjoyed their first taste of chart success with the follow-up, released on 3 February 1978. But they made sure nobody could play the b-side on the radio:-

mp3 : Buzzcocks – What Do I Get?
mp3 : Buzzcocks – Oh Shit

A #37 hit. Deserved much better as it is one of the most underrated post- punk pop tunes of all time.

Bonus Peel Session version from 7 September 1977:-

mp3 : Buzzcocks – What Do I Get? (Peel Session)

BUZZCOCKS SINGLES 77-80 (Part 2)

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Howard Devoto might have left the band after the release of the Spiral Scratch EP, but the band decided that one of the songs he had co-written with Pete Shelley should be the debut single now that they had signed with United Artists, one of the first punk groups to end up at a major label.

The choice of said single was designed to court controversy, as was all the rage in November 1977:-

mp3 : Buzzcocks – Orgasm Addict

Not surprisingly, it was banned from radio stations up and down the country and so very few people got to hear it and even fewer bought it. That so few copies were purchased before UA deleted it means you need to pay £10-£15 nowadays for a copy that’s in decent condition.

Incidentally, Pete Shelley now considers the song to be embarrassing. I’m sure that Howie D also doesn’t consider it to be his finest moment, funny as it probably seemed at the time.

Here’s your bass-heavy and rough b-side in which Pete struggles occasionally to hit his high notes:-

mp3 : Buzzcocks – Whatever Happened To….?

Enjoy.

BUZZCOCKS SINGLES 77-80 (Part 1)

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I’ve gone for Buzzcocks to be the next band in the lookback at the singles set of series. Not only are the songs for the most part rather spoecial, but many of the sleeves were among the best designs of the post-punk era.

In the beginning was this.

Spiral Scratch is an EP and the debut release by English punk rock band Buzzcocks. It was released on 29 January 1977, and was the first punk record to be self-released (that is, without the support of an existing record label). It is the third record ever released by a British punk band (preceded only by The Damned’s “New Rose” and the Sex Pistols’ “Anarchy in the U.K.”). The EP is the only Buzzcocks studio release to feature original singer Howard Devoto, who left shortly after its release to form one of the first post-punk bands, Magazine.

When reissued in 1979, it reached number 31 in the UK Singles Chart.

According to Devoto, “It took three hours to record the tracks, with another two for mixing.” Produced by Martin Hannett (credited as “Martin Zero”), the music was roughly recorded, insistently repetitive and energetic.

The band had to borrow £500 from their friends and families to pay for the record’s production and manufacture. The EP was released 29 January 1977 on their own New Hormones label. The disc quickly sold out its initial run of 1,000 copies, and went on to sell 16,000 copies, initially by mail order, but also with the help of the Manchester branch of music chain store Virgin but also with the help of the Manchester branch of music chain store Virgin, whose manager took some copies and persuaded other regional branch managers to follow suit.

mp3 : Buzzcocks – Breakdown
mp3 : Buzzcocks – Time’s Up
mp3 : Buzzcocks – Boredom
mp3 : Buzzcocks – Friends Of Mine

Enjoy.

A LAZY STROLL DOWN MEMORY LANE : 45 45s AT 45 (23)

ORIGINALLY POSTED ON WEDNESDAY 23 APRIL 2008

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Now you might not believe this, but it is true.

When I was typing out the words and thoughts to accompany the song that made #24 on this chart, I couldn’t remember what it was that had made #23.

But it turns out to be the 1978 song I had in my mind when I was wittering on about scratchy guitars, a tune that made you leap around and sweat profusely while joining in on a chorus to die for and all in the space of something lasting less than 2mins 30 secs in length. (OK….the song is actually 2 mins 43 seconds in length)

Do I really need to say anything else?

mp3 : Buzzcocks – Ever Fallen In Love (With Someone You Shouldn’t Have)?
mp3 : Buzzcocks – Just Lust

Some stats. The single was released in September 1978. That means it’s more than 37 years of age!!!!! (Go back the other way and its unimaginable that in 1979 there would be anyone raving about a ‘minor’ hit song from 1941.)

It was the band’s biggest hit, reaching #12 in the charts.

I’m actually at a loss to work out how Ever Fallen In Love? is only at #23 in the rundown.

I suppose its because I think there are 22 singles better than it…..but even I’m having doubts.

 

YOU KNOW THE SCENE IS VERY HUMDRUM….

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A very short but interesting e-mail arrived in the inbox on 2 January:-

I heard Rip It Up in a Starbucks of all places this weekend and now they just played it on KCRW. What the what? I live in California. no one here has EVER heard of Orange Juice. I mean it’s cool and all, but I’m scratching my head.

Eric Freeman

I’ve absolutely no idea why Edwyn & co’s biggest hit single has all of a sudden gotten airtime on the west coast of the USA….my  stab in the dark is perhaps that it has somehow made its way on the soundtrack of some movie or other, but as someone who hasn’t darkened a cinema in more than six years (the last time being at the Toronto International Film Festival premiere of Control) I’m probably waaaay out with that guess.  Any thoughts dear readers?

Anyway, Eric’s e-mail got me thinking it was time the song appeared on T(n)VV:-

mp3 : Orange Juice – Rip It Up

Rip It Up was released as a single in the UK in February 1983 and a few weeks it reached #8 in the charts.  It was made available as a standard 7″ single, as part of a double-pack (plus poster) on 7″ and as a 12″ single. The sleeve, which seemingly depicts a  US P-40 Warhawk fighter plane, decorated with eyes and teeth and partially submerged, tail first, in the sea, was drawn by Edwyn Collins.

Here’s the other tracks from the double pack:-

mp3 : Orange Juice – Snake Charmer
mp3 : Orange Juice – Love Sick (live)
mp3 : Orange Juice – A Sad Lament

Snake Charmer is a Malcolm Ross composition. Love Sick is a live studio recording of an old Postcard single while the 12″ version of A Sad Lament would later be included on the Texas Fever LP.

The 12″ version of Rip It Up is only marginally longer (about 10 seconds) than the 7″, with the longest version being reserved for the LP version which extends out to some 90 seconds beyond the 7″:-

mp3 : Orange Juice – Rip It Up (LP Version)

If you listen closely, especially on the LP version, you will hear the wonderful voice of Paul Quinn on backing vocals. It’s a pity that he wasn’t asked to appear with the band on Top of The Pops on either of the two occasions they appeared performing the song, although they did smuggle Jim Thirwell onto the show to play saxophone….

The other great thing about Rip It Up is the nod it gives to Boredom by Buzzcocks.  Not only does Edwyn utilise some of the lyrics and proclaims it be his favourite song but there’s also a tribute to the infamous two-note guitar solo.  Have a listen to see what I mean:-

mp3 : Buzzcocks – Boredom

Enjoy!!

AS SEEN OVER AT THE OLD PLACE : MAY 2007 (2)

I thought a nostalgic look at a famous Manchester band would go down well today. Originally posted on 15th May 2007:-

THE SOUL’S JOY LIES IN THE DOING

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Outside of Glasgow, my top city in terms of music has to be Manchester. The Smiths, Joy Division/New Order, and Magazine are among my all-time list of great bands, and I’ve a soft spot for The Stone Roses, Happy Mondays, James and Oasis. And of course everyone likes Mark E Smith and The Fall….. Don’t they???

And then there’s Buzzcocks (although a close friend from Manchester will always insist, and rightly so, that Buzzcocks are from Bolton, a substantial town of its own merit some 20 km outside of the northern metropolis)

Most music aficionados will know that the Sex Pistols were in the inspiration for Howard Devoto (vocals) and Pete Shelley (guitar) to form Buzzcocks in the summer of 1976. The other members of the band were Pete Diggle (bass) and John Maher (drums).

In January 1977, the true punk DIY ethos was followed to the letter with the formation of a brand new record label specifically to record and release the band’s debut, an EP called Spiral Scratch. Just two months later, and at a time when every major record company on the planet wanted them to sign on the dotted line, Devoto dropped the bombshell that he was leaving.

The news however, didn’t deter the others from carrying on. Shelley took over the responsibility of being the main songwriter, as well as lead vocalist, Diggle moved to guitar, while a new bass player, Garth Smith was recruited. By August, they had signed to the United Artists label (part of EMI who had of course dropped The Pistols), and debut single Orgasm Addict came out in October. Not surprisingly, this ode to teenage masturbation was banned from radio play across the UK and didn’t trouble the charts. By the turn of the year, the band had fired bassist Smith (seemingly he just wasn’t a good enough player) and brought Steve Garvey into the fold. The new line-up was to conquer the UK in 1978 and 1979 thanks to a run of incredibly good singles that were released at roughly two-monthly intervals.

And it is these 8 singles, and their b-sides, nearly all of which last no more than two and bit minutes at a time, that make up one of the most listenable bits of vinyl ever to be let loose on the world.

Ostensibly, it’s a greatest hits collection, and from recollection, was the first of its type from a punk/new wave band. Singles Going Steady came out in September 1979, and it featured everything bar tracks from the debut EP.

01. Orgasm Addict – released in October 1977 but didn’t chart
02. What Do I Get? – released in February 1978 and reached #37 in the charts
03. I Don’t Mind – released in May 1978 and reached #55 in the charts
04. Love You More – released in July 1978 and reached #34 in the charts
05. Ever Fallen In Love? – released in October 1978 and reached #12 in the charts
06. Promises – released in December 1978 and reached #20 in the charts
07. Everybody’s Happy Nowadays – released in March 1979 and reached #29 in the charts
08. Harmony In My Head – released in August 1979 and reached #32 in the charts.

Tracks 9-16 were the b-sides of each single.

The chart positions might not look much to anyone nowadays, but you had to sell tens of thousands of singles to make the Top 40 in the late 70s, and the band managed this with ease. The record were also magnificently packaged, with covers and labels being colour co-ordinated (usually with the use of bright and cheerful day-glow colours).

Then, all of a sudden it all went pear-shaped. In October 1979, the band embarked on a major tour of the main concert venues across the UK, including the 3,000 capacity Glasgow Apollo. Every night they were blown away by the support act who were something fresh, new and fronted by someone unlike anyone we had seen before. Their support act was Joy Division.

Before long, the music press had started to turn against Buzzcocks. The reviews of the late 1979 tour were full of praise for the support act and full of venom for the main act who were now seen as has-beens. Having been constantly in the limelight with single and after single after single, and tour after tour after tour (not to mention 3 LPs in the space of two years), they disappeared for much of 1980, emerging in the Autumn for a tour which hardly anyone bought tickets for, and an album and two singles that no-one bought. Six months later, Shelley dissolved Buzzcocks.

The band did reform again almost a decade later, but that is perhaps a tale best left for a future posting.

For a short period in my life when I was 15/16 years of age, Buzzcocks, along with The Jam, could do no wrong in my eyes. They made great records that sounded magnificent on the radio, giving us a perfect combination of punk/new wave and pop. Singles Going Steady is glorious in all aspects except for having a lousy sleeve that was completely different in style to the works of art that had accompanied all the previous releases. Most of the lesser known b-sides are every bit as good as the singles themselves.

It was a real dilemma selecting the tracks to actually post, but in the end, I’ve gone for the flop single, the single that didn’t have Pete Shelley singing lead vocals and two more than worthy b-sides:-

mp3 : BuzzcocksOrgasm Addict
mp3 : Buzzcocks – Harmony In My Head
mp3 : Buzzcocks – Oh Shit!
mp3 : Buzzcocks – Noise Annoys

This is a record that every collection just has to contain. A re-mastered copy with loads of extra tracks is very widely available and cheap to boot.

A couple of boring facts to end.

(a) John Maher was the drummer in Buzzcocks. It is also the real name of another Manchester musician who went on to achieve fame, fame fatal fame a few years later. To avoid confusion with the famous drummer, this young, handsome and talented guitarist changed his forename and surname ever so slightly to Johnny Marr.

(b) The lead track on the Spiral Scratch EP was called Boredom. And it was name-checked by the god-like Edwyn Collins who penned this lyric:-

“You know me I’m acting dumb-dumb
You know the scene is very humdrum
And my favourite song is entitled Boredom’

From Rip It Up. A song one or two of you might just be aware of.

PS : The title on the posting is a quote from a different P.Shelley, but it kind of sums up why I blog……..