Showing posts with label Rough Trade. Show all posts
Showing posts with label Rough Trade. Show all posts

Saturday, September 10, 2011

Militant entertainment: introducing Gang of Four and the Mekons' "Never Been in a Riot"

Gang of Our shunned the heat of rock spontaneity, the intuitive looseness of letting songs emerge "organically" out of jams. "No jamming - that was the J-word", says guitarist Andy Gill. "Everything was thought out in advance".
Drummer Hugo Burnham worked out unusual drum parts that inverted or frustrated the usual rock modes of rhythmic motion, like the mechanistic drum loop of "Love Like Anthrax", and what he calls the "continuous falling-down-the-stairs flow" of "Guns Before Butter".

Gang of Four - Guns Before Butter 1979


In their most thrilling songs - the taut, geometrical paroxysm of "Natural's Not In It", for instance - everything worked as rhythm, just like in James Brown's funk.

Gang of Four - Natural's Not In It 1979


A stumbling juggernaut of crude guitar and caveman drums, "Never Been in a Riot", the Mekons' debut, was a sonic argument in support of the proposition that rock, in the words of Melody Maker's Mary Harron, "is the only form of music which can actually be done better by people who can't play their instruments than by people who can".
Not everybody bought the argument initially. Rough Trade literally didn't buy it, refusing to take any copies of the single, saying it was just too incompetent. "Shortly thereafter, though, it was made Single of the Week in NME", recalls Fast Product's owner Bob Last (who signed the band for their first single). "And everybody wanted it, including Rough Trade".
NME's seal of approval was all the more significant because it came courtesy of the paper's resident punk rocker Tony Parsons, who took the lyrics of "Never Been in a Riot" as an inspired lampoon of the Clash's street-fighting-man posturing. According to Mekons' leader Tom Greenhalgh, the song is closer to an admission of vulnerability. "That you might be in a riot and be scared. Being open about that kind of weakness rather than trying to put on a front".

The Mekons - Never Been in a Riot 1978

Tuesday, September 6, 2011

Evolution of The Pop Group

Like the Slits, the Pop Group pined for a lost wholeness that they imagined existed before civilization's debilitating effects. The song "Words Disobey Me" even hinted that language itself might be the enemy, that underneath all the layers of conditioning lay a pure, inarticulate speech of the heart. "Speak the unspoken/First words of a child...We don't need words/Throw them away", beseeched Stewart.

The Pop Group - Words Disobey Me 1979


The Pop Group's mounting revulsion for corporate capitalism and corresponding desire for "purity" in a corrupt world inspired the single "We Are All Prostitutes". Musically, it's their most powerful recording. The lyrics, though, abandoned Y's imagistic delirium for a histrionic rant against consumerism, "the most barbaric of all religions". Stewart warned, "our children shall rise up against us". The Pop Group seemed to be changing from lusty poet-warriors to puritanical doomsayers.

The Pop Group - We Are All Prostitutes 1979


The backlash came in March 1980, triggered by a split single that paired the Slits' "In the Beginning There Was Rhythm" with the Pop Group's "Where There's a Will". NME's Ian Penman mockingly dissed them as "Bristol Baezes", evoking sanctimonious sixties folkie Joan Baez.

The Pop Group - Where There's a Will 1980


The second Pop Group album, For How Much Longer Do We Tolerate Mass Murder? got panned as self-righteous soapbox agitprop. The music was still fiery, and actually more focused than Y, but it was hard to stomach the crude finger-pointing of songs like "Blind Faith".

The Pop Group - Blind Faith 1980


The band seemed to proceed methodically through a checklist of issues - "Justice" dealt with police brutality, "How Much Longer" with Nixon and Kissinger's war crimes - and the self-flagellating guilt trip vibe was off-putting. "There Are No Spectators" chided the politically disengaged and passive, declaring, "There is no neutral/No one is innocent".

The Pop Group - Justice 1980


The Pop Group - How Much Longer 1980


The Pop Group - There Are No Spectators 1980



The album was relentlessly pinned to the specifics, from the sleeve with its collage of news clipping about outrages such as East Timor to songs such as "Feed The Hungry", all blurted statistics and denunciation. Hectoring and lecturing, For How Much Longer was as unpoetic as a fringe leftist pamphlet.

The Pop Group - Feed The Hungry 1980


A massive antinuclear rally held in Trafalgar Square in October 1980 was the last time the Pop Group performed together. After this high point - playing to 250.000 people - the Pop Group fell apart. "An organic disintegration", says Stewart. "There was no ill will".

Friday, September 2, 2011

First releases on Rough Trade Records

Two full years elapsed between the opening of the first Rough Trade store and the label's debut release in February 1978: Metal Urbain's "Paris Maquis". "We thought they were the French Sex Pistols", says Geoff Travis (Rough Trade's founder). Next came an Augustus Pablo single. But it was ROUGH 3 - the Extended Play EP by Sheffield experimental trio Cabaret Voltaire - that really tapped the emergent postpunk gestalt.

Metal Urbain - Paris Maquis 1978


Cabaret Voltaire - Here She Comes Now (Velvet Underground cover) 1978


But what really put the label on the map and made the majors sit up and take apprehensive notice was when Inflammable Material, the Rough Trade album by Belfast punk band Stiff Little Fingers, went straight onto the U.K.'s national pop charts at number fourteen in February 1979.

Stiff Little Fingers - Wasted Life 1979