In the autumn of 1979 The Flying Lizards' cover of "Money (That's What I Want)" took the avant-classical sound of 'prepared instruments' into the UK Top 5. The record's bass drum isn't a drum but a bass guitar being hit with a stick. The banjo-like piano sound was created by throwing an assortment of objects - rubber toys, a glass ashtray, a telephone directory, a cassette-recorder, sheet music - inside the piano. The distortion-overloaded guitar solo gesticulates wildly, like an overexcited man, and the backing vocals sound like tribesfolk chanting in the rain forest.
Originally co-written by Berry Gordy Jr, "Money" is probably most famous in its Beatles version. In this version, John Lennon's prole-on-the-make insolence thrills because the 'cynicism' (valuing material wealth over love) feels bracingly unsentimental and the song shakes with a working-class hunger and confidence that won't be contained. The Lizards' remake subverts The Beatles' subversion. All icily enunciated hauteur and blue-blooded sang-froid, singer Deborah Evans replaces Lennon's lusty rasp with the dead-eye disdain of the ruling class.
The Beatles - Money (That's What I Want) 1963
The Flying Lizards - Money (That's What I Want) 1979
On "24 Track Loop" - one of the highlights of This Heat's self-titled 1979 debut LP - they fed Charles Hayward's frantically funky drums through a device called the Harmonizer to create chiming and creaking tuned-percussion timbres that prophesy nineties jungle.
This Heat - 24 Track Loop 1979
Deceit, from 1981, was almost a concept album about nuclear Armageddon.
Opener "Sleep" imagines power lulling people into apathy with consumerism and entertainment: 'a life cocooned in a routine of food'.
This Heat - Sleep 1981
The band also projected a ferocious sobriety via their image. Deceit's back cover shows the band - Hayward, bassist Gareth Williams and multi-instrumentalist Charles Bullen - dressed in ties and jackets, with short, neat haircuts and stern frowns on their faces.
The Raincoats sometimes addressed the 'big issues' - "Off Duty Trip", for instance, concerned a notorious rape trial of the day, in which the perpetrator was treated leniently by a judge to avoid damaging his military career.
The Raincoats - Off Duty Trip 1979
The Raincoats' second album, Odyshape, is post-punk that's been totally unrocked.
"Only Loved At Night", the album's stand-out track is like a gamelan music-box, the different patterns interlocking like intricate cogs. On this song, as with much of Odyshape, the group swapped instrumental roles (a common post-punk ruse to keep things fresh), with violinist Vicky Aspinall playing bass and bassist Gina Birch contributing drone guitar, while guitarist Ana da Silva produces wistful chimes from her kalimba, an African thumb-piano. Charles Hayward's clockwork percussion, added after the fact, is decorative, just one of many parallel pulses.
The Raincoats - Only Loved At Night 1981
Released on Rough Trade in 1981, The Red Crayola's Kangaroo? featured lyrics from conceptual art collective Art & Language that addressed various 'monstrosities' produced by the internal contradictions of bourgeois culture.
There were also whimsically ornate exercises in Soviet suprarealist rock like "The Tractor Driver" and "The Milkmaid", humorous attempts, leader Mayo Thompson says, to imagine what 'a socialist song [would] sound like'.
The Red Crayola - The Tractor Driver 1981
The Red Crayola - The Milkmaid 1981
"Final Day" is perhaps Young Marble Giants' best and certainly their best-known song. To get the single-note whine that runs through the whole track and evokes what main songwriter Stuart Moxham calls 'the low-level dread' of living with the possibility of nuclear annihilation, he stuck a matchstick in one of the organ keys. But what's most chilling about "Final Day" is its brevity (just 1 minute and 39 seconds) and singer Alison Statton's fatalistic tone as she sings 'When the light goes out on the final day/We will all be gone having had our say'.
Young Marble Giants - Final Day 1980
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