Showing posts with label Simon Reynolds. Show all posts
Showing posts with label Simon Reynolds. Show all posts

Wednesday, March 23, 2016

Totally Wired: Postpunk Interviews and Overviews by Simon Reynolds (Soft Skull Press 2009)




Simon Reynolds: Thinking about the city’s post-punk scene, it struck me that none of the Manchester bands inspired into existence by punk were particularly political. Certainly there was no protest punk, no agitprop.

Tony Wilson: I always thought the Pistols were the greatest band because they weren’t really agitprop. The more overtly agitprop lines were thrown in by Jamie Reid. None of real punk was Red Wedge. That would be too reasonable. Agitprop is socialist, but the whole background to punk is situationist. Punk was more simple and brutal, which is why post-punk had to happen. One of my only regrets is that Bernard in New Order is clever, and that so fucked me off. So, 1990, Radio One, I’m listening to a programme on the Joy Division/New Order story, and Bernie says, ‘Punk was wonderful, it got rid of all the shite. You can’t really remember how bad music was in the early seventies. It was diabolical, a total wasteland. Punk was an explosion that blew it all away, but it was simple and simplistic. All it could say was, “I’m bored.” Sooner or later someone was going to use the simplicity of punk to express more complex emotions.’ I was like, ‘Fucking hell, the bastard’s right again!’ My reworking of Bernie’s comment is, ‘Punk was wonderful, but all it could say was this one simple emotion: “Fuck you.”’ Sooner or later someone was going to have to use that music to say, ‘I’m fucked.’ And that was Joy Division.

I see Joy Division as the first band of post-punk and U2 as the second. Sure, they can be soap boxy and sermonizing.

Simon Reynolds: Oh yeah, you can hear PiL’s ‘Public Image’ in the early U2 sound. Talking about PiL, there’s a story about the Factory people driving around Manchester at night, stoned, listening to the first PiL album.

Tony Wilson: We loved PiL. We loved them so much, I rang them up and said, ‘Will you do a number on Granada Reports?’ This is early PiL. They came to Manchester and did some songs on the show. And then at 3.40 in the afternoon, John turns to me and says, ‘You still do that fucking club of yours?’ I said, ‘Yeah.’ John says, ‘While we’re up here might as well do a fucking gig. Organize it.’ I asked Keith Levene, ‘Is he serious?’ and he says, ‘Yeah.’ So I called Alan Erasmus and asked if he could open the club that night. We’re running around like idiots. Got the news on Radio Piccadilly. At 7.30 in the evening I got A Certain Ratio out of bed to support them, and that night was Manchester’s first PiL gig. Fucking great. Another big band in Manchester was Suicide. Manchester loved Suicide. They played the Factory club at the Russell twice. When they supported The Clash, in every other city in Britain they got booed. But in Manchester it was ‘Fuck The Clash, we’re here for Suicide.’

But back to post-punk – I always think of Joy Division and U2. Two months after Ian died, U2 still hadn’t broken. There was this wonderful kid who was a radio DJ and plugger, and he used to bring U2 to every radio station and every TV station in the north of England every three months to break his beloved U2, whom no one cared about then. I remember him bringing Bono into my office, and Bono sat on the desk and said to me how incredibly sorry he was about Ian’s death. How it had really hurt him. How Ian was the number-one performer of his generation and he knew he was always going to be number two. And he made some statement – it didn’t sound as silly as ‘Now he’s gone, I promise you I’ll do it for him,’ it wasn’t as awful as that, but it was something like that. I thought, ‘Yes, thanks a fucking lot, fuck off.’ Until the afternoon of Live Aid. I was watching, so angry because all the dinosaurs at Wembley were playing and going out to the world, and they were all utter shite. And then U2 came on and they were good. And then a girl fainted, and Bono began to move off the stage to help her. I actually leapt out of my seat and said, ‘All right, I give in! You did it, you did it for Ian! God bless you.’ So God bless U2. They were fantastic at the Superbowl. Edge’s guitar was unbelievable.

The great line about U2 is Bernard’s again. It’s Rapido in 1989, and he’s asked whether as a pop star you can take yourself too seriously. And Bernard says, ‘Yeah, you can. You can get a bit above yourself. Like that guy, what’s his name . . . Bongo.’


Saturday, September 18, 2010

Laundry List

I haven't posted a Random25 on the blog for a while.

The post title is self-explanatory. The songs below are what the iPod shuffle threw my way whilst I was doing the laundry a couple of days back.

Not a bad selection of tracks. Pretty mainstream which reflects the music on my iPod at the moment. I probably should shake it up a bit. Probably the most obscure band in the list is the post-punkish New Age. I know absolutely nothing about them, short of the fact that there's nothing about them on the internet and they're better than seventy-five per cent of the bands that Simon Reynolds gushes over in Rip It Up.

Oh yeah, click to enlarge . . . and to enrage.

Wednesday, February 11, 2009

Glued to my side

Weekly Bulletin of The Socialist Party of Great Britain (84)

Dear Friends,

Welcome to the 84th of our weekly bulletins to keep you informed of changes at Socialist Party of Great Britain @ MySpace.

We now have 1441 friends!

Recent blogs:

  • Xenophobic unionism?
  • Darwin and the Intelligent Design Brigade
  • Democracy and dictatorship
  • Quote for the week:


    It grows and grows--are we the same,

    The feeble band, the few?

    Or what are these with eyes aflame,

    And hands to deal and do?

    This is the host that bears the word,

    No MASTER HIGH OR LOW -

    A lightning flame, a shearing sword,

    A storm to overthrow.

    William Morris, No Master, 1885.

    Continuing luck with your MySpace adventures!

    Robert and Piers

    Socialist Party of Great Britain

    Friday, February 22, 2008

    Paul Morley Tony Morley was once my hero

    Further to this post on the blog from a few days back, Snappy Kat was kind enough to post a link to the 'notorious' 1981 TOTP appearance by Magazine.

    Sad to discover that it wasn't the 'event' I was expecting from the vivid description in Simon Reynolds post-punk bible. Any stage fright from Devoto had less to do with caught up in the occasion, and probably owed more to being struck dumb by David 'Kid' Jensen's positioning when introducing the band. I always wondered where Ricky Gervais got the inspiration for that pose in the second series of 'The Office'.

    Should have known that any story that had the name 'Paul Morley' attached to it would have a certain je ne sais quoi.

    However, every cloud had a silver lining and, via the comments accompanying the YouTube clip, I discovered the following nugget of useless post-punk information:

    "The guitar lick in 'Lipstick' was given to Devoto by Shelley for use in Magazine's 'Shot by Both Sides', one of 2 Magazine-recorded songs co-written by Shelley, the other being 'The Light Pours Out of Me' by Devoto/McGeoch/Shelley. 'Lipstick' was actually written before 'Shot by...', even though 'Shot by...' was released first on Mon, Jan 16, 1978." [Info via here.]

    Shelley, as in Pete Shelley of Buzzcocks fame, not that other Shelley anti-hero bloke from the post-punk era.

    What with my trained tin-ear for all things musical, I find it difficulty to hear the overlap between the two tracks. And that's despite the fact that I've listened to both tracks on numerous occasions down the years. But it is a good excuse to post some early eighties stuff on the blog for sampling purposes:

  • Magazine - 'Shot By Both Sides' mp3
  • Buzzcocks - 'Lipstick' mp3
  • Wednesday, February 20, 2008

    Shot By Your Own Side

    Excellent music blog, Spinster's Rock,' is currently posting the entire Magazine singles discography on their blog.

    Come on: it's late 70s/early 80s post-punk; Howard Devoto had the best cameo in Michael Winterbottom's '24 Hour Party People'; and I currently can't get the Magazine album track, 'Suburban Rhonda', out of my head. I'm obliged to link to the posts.

    Mmm, wonder what Simon Reynolds said about Magazine in 'Rip It Up And Start Again'?:

    "On the brink of the Top 40, Magazine were invited to appear on Top of the Pops. At first Devoto refused. Asked again the following week, he buckled to pressure from Virgin and agreed. But he remained extremely uncomfortable about miming to the song ['Shot By Both Sides'] on television. 'It was very artificial. The whole thing seemed absurd . . . and scary.' At the last minute he decided to make a gesture that would indicate his disdain for the corny charade. 'I didn't want to jump around in an obedient, "here's your entertainment" way. I wanted to be bloody-minded, but in a fairly understated way.' He got the BBC make-up girl to do him up in whiteface, but instead of a striking glam alien, 'he looked like Marcel Marceau', recalls Paul Morley (who was glued to the TV because seeing a band like Magazine on Top of the Pops was 'so rare' in those days). 'And then Devoto decided, because his mind was racing so quick, that he was far ahead of the game and he'd just be still. Very, very still. And thid great song was playing, but Devoto stood stock-still. And the next week the record went down the charts - possibly the first time that's ever happened in the history of pop, that you get on Top of the Pops and the single goes down the next week. And from then on, everything shut down. Killed stone dead.'

    *Nips over to YouTube to try and locate the car crash tv clip.*