Showing posts with label The Damned. Show all posts
Showing posts with label The Damned. Show all posts

Tuesday, July 24, 2012

London's Burning: True Adventures on the Front Lines of Punk, 1976-1977 by Dave Thompson (Chicago Review Press 2009)





Somebody—I don’t know who, but they didn’t look impressed—pointed out Siouxsie Sioux, the dominatrix-clad queen of a gang of fashion horses known to themselves as the Bromley Contingent, über-followers of the Pistols machine, who were fast garnering as much notoriety as the band itself. Someone else nodded pityingly toward a beanstalk by the stage, leaping up and down on the spot and clearly in danger of crashing through the ceiling. Muted by the din of the band, you could lip-read their contempt nevertheless.

“Look at that idiot.”

I looked. I knew him. Bev . . . John Beverley . . . lived in Finsbury Park, close by the station where I swapped my bus ride for the tube. A total Bowie nut, which is why a mutual friend introduced us, he enjoyed nothing better than a lager-fueled argument over which of the master’s songs was the best. Neither, at the time, did I. But whereas I was willing to change my opinion, depending upon what kind of mood I was in, Bev was unyielding.

“‘We Are the Dead’?” I would suggest.


“Fuck off! ‘Rebel Rebel.’”

“‘Drive In Saturday’?”

“‘Rebel Rebel.’”

“‘Cygnet Committee’?”

“I said, Fuck off!” And so it would go on until Bev fucked off, usually lured away by one or other of the pimply weasels who’d renamed him Sid, but who themselves were also named John: Wardle, who was sufficiently pear-shaped to be rechristened Wobble; Gray, who was anonymous enough that his surname already suited him; and Lydon, who was now up onstage with the Pistols, flashing the teeth that first gave him his nom de guerre. Sometimes you wondered what Bev saw in them. He hated it when they called him Sid, he hated it even more when they added the surname Vicious. And it was pretty obvious that his main attraction to them was to see how many outrageous stunts they could prompt him to rush into, simply by reminding him what a “great laugh” he was, and letting his overdeveloped need for attention to take over.

But he never shrugged them off, and you saw less and less of Bev these days, and more and more of Sid Vicious. One day, a few worried friends prophesied, Bev would vanish altogether and Sid would take over completely. Tonight, for sure, Sid was in total control, bouncing up and down on the dance floor, grinning wildly at the noise that his mates were making, and utterly oblivious to the fact that whatever rhythm he was hearing in his head was inaudible to everyone else in the room. Somebody said it looked like he was riding a pogo stick. Somebody else thought it looked like fun. The next time you saw the Sex Pistols, half the audience would be doing it.


Thursday, February 17, 2011

'77 Sulphate Strip by Barry Cain (Ovolo Books 2007)

The Jam

Royal College of Art, London

It's a godawful small affair . . .

Stage as long as Platform six at Victoria station. Baggageless porters The Jam 40 feet apart and monitorless. Full house. Lights! The Tyla Gang before and the Cimarrons after.

An artless audience at the Royal College of Art show their appreciation of the white-soul boys up there on the stage with the huge Union Jack backdrop depicting the three moods The Jam take you through at a gig - red hot expanding into white heat, contracting into teenage blue.

In case you’ve forgotten, guitarist Paul Weller, bassist Bruce Foxton and drummer Rick Buckler are The Jam. They are not, I repeat not a recycled Who. They write concise, contemporary songs like ‘ln The City’, ‘Bricks & Mortar' and 'I’ve Changed My Address’ enhancing the overall effect with a shrewd selection of old material 'Batman’, ‘So Sad About Us’ and ‘Midnight Hour'. The result? A well-equipped show; incisive, dynamic, piebald. Black suits, white lights, black ties, white shirts, black thoughts, white rock. They won't blow it now.

The Jam always come across as much younger than other bands, like Brian Kidd in a team of Bobby Charltons. They have the pace and the sneer - Paul Weller could hardly be described as ‘this smiling man’. He drinks but refuses to take drugs on the grounds that they are immoral, debilitating and, well, uncool. Drug-induced confidence is unnecessary for the cool dude that's Paul Weller. But he gets more hangovers that way.

Paul is cool because he's a man with a genuine talent who hasn't quite realised it yet. And that's when the good stuff comes.