In discussion with Roual Galloway on “Garageland” by the Clash (1977)
So what was your first encounter with ‚Garageland‘? Listening to the radio as a teenager?
I got a copy of the first Clash album in 1979 from a record shop in Edinburgh called GI Records, aged 11. My dad had done some work for the owner and payment was made to him in vinyl. Which meant that my sisters and I all had three records each to choose from the stock. I can’t remember what my sisters chose, but the three I selected were The Ramones “It’s Alive,“ The Skids „Scared To Dance,“ and the self titled Clash album. At the time we lived in a Scottish newtown called Livingston. In later life you realise that all newtowns are built in three stages, which are in the following order of building houses, attracting people and offering jobs. We moved there in ‘78 in between stage 1 and stage 2. This meant that unemployment was high and the youth were left disenfranchised. Like most newtowns it was badly designed and architecturally awash with concrete grey. Punk seemed like a natural rebellion against the injustices imposed on the youth of Livingston and had a massive following there. A local punk band called On Parole used to cover it and I suppose it became ingrained in my consciousness from that. I saw them live for the first time in 1979. I’ve always liked the sentiments of the lyrics, of standing up against selling out and of doing things for yourself.
Have you ever heard something like it before, or was this your first experience with Punk?
I was aware of punk in 1977, but I was too busy kicking a football about and chasing girls at the time. One of the first records I bought in 1978 was „Denis“ by Blondie, unfortunately the other two were „The Smurf Song“ and the Official Scottish World Cup Song of 1978. I bought these whilst I was living in Nottinghamshire just before we moved to Livingston, Scotland. There was no escaping punk in Livingston.
I have to ask this question. Why The Clash, and not The Sex Pistols?
The Sex Pistols released one proper studio album in 1977 and then Rotten left. They were never the same after that, although the cash-in albums were hugely influential at the time of release. The Clash on the other hand released six studio albums in their existence. They matured with each album, apart from „Cut The Crap“. The one regret that I have is that I didn’t see them at the time. If I had to choose between the Pistols and the Clash it would have to be the Clash every day of the week.
„Garageland“ was published as last song of their debut album. Did you like the album as a whole, or is this their standout track?
The first album is filled with classic song after classic song. From the opening with „Janie Jones“ to „Garageland“ it’s all thrillers with no fillers. How can you not like an album that’s as strong as this! Read the rest of this entry »
In discussion with Fantastikoi Hxoi on “The White Room” by The KLF (1991).
What introduced you to the KLF? Were you already familiar with their previous incarnations as Justified Ancients Of Mu Mu or The Timelords, or did it start with their period from KLF onwards?
Well, I was something like twelve years old when “The White Room” broke internationally. I remember the “Last Train To Trancentral”video coming on after Paula Abdul on TV. I was like “ok, this is different”. It was a bit spooky to my young mind to be honest, all that faux-ritualistic imagery – and the music was equally gripping. Some years later I discovered The Orb and re-discovered the KLF and all their previous incarnations. Slowly I started to realise what they were really about.
Considering that “What Time Is Love?” was already released in 1988, would you say that The KLF introduced rave to dance music with all the according signals, stadium noises and such, or did they pick up on developments that were already there? Did they actually relate to a timeline in dance music?
As far as I can tell, they are one of the first underground rave acts that brought this kind of music (or elements of it) to the mainstream, complete with conceptual visual imagery and a certain philosophy. And ‘mainstream’ of course, is not 20.000 punters in a field in the UK. It’s a 12-year-old in Greece, on telly.Read the rest of this entry »
In discussion with Mike Thorne on “Strange Days” by The Doors (1967).
Were you a Doors fan since their debut album, or was “Strange Days” the album that got you into their music?
I heard their first album shortly after release in 1967 and thought it astonishing. There was a presence and directness to the songs and the playing that was so fresh and new. Also, the sound and production were exceptional – everything still sounds so clear and present.
What drew you to them in the first place, especially compared to other rock groups of that era? What made them special? Was it Jim Morrison, the musicians, or their peculiar moody and dark approach to rock?
The band were clearly a distinctive group of talented people, interacting very constructively, and delivered the noise and force that’s always been attractive. They were one clear pole. In the days when music mattered, you were either a Beatles or a Stones person, with Pink Floyd or Soft Machine. There’s a parallel contrast between the Jefferson Airplane and the Doors. Even though I liked much of their output, the Airplane could be ‘nice’ in the unthinking hippy way in times when we were all feeling our way. Much of their output didn’t have anything like the power of Somebody To Love or White Rabbit, and could be downright sappy. The Doors always played rough and direct. More recent public polarities include the Blur/Oasis media circus, but that wasn’t so much about stylistic contrast. Read the rest of this entry »
Im Gespräch mit Ingo Scheel über “Never Mind The Bollocks Here’s The Sex Pistols” von den Sex Pistols (1977).
Wann und wie war Deine erste Begegnung mit “Never Mind The Bollocks”?
Das war irgendwann im Herbst 1977, ich war 13. Mein bester Kumpel Assi und ich hatten von den Pistols gelesen, von Punk als Phänomen, das fanden wir alles super, aber es gab nirgendwo etwas zu hören. Bis dann Wolf-Dieter Stubel in der “Internationalen Hitparade” auf NDR2 “Holidays in the Sun” spielte. Ich weiß es noch genau, es war im Autoradio, mit meiner Mutter zusammen. Der Song beginnt, das Intro, Rottens Stimme, ich hätte ausrasten können. Die Welt sah sofort anders aus, der Song legte binnen Sekunden einen Schalter in meinem Leben um. Wieder zuhause angekommen rief ich Assi an, er hatte den Song auch gehört und wir konnten nicht fassen, wie gut die Pistols klingen. Zwei Monate nach dieser ersten Begegnung bekomme ich die Platte von Tante Renate zu Weihnachten. Es ist Bescherung, ich packe sie aus. Meine Tante sagt: “Na, nun möchte ich die aber auch mal hören.” Wir gehen in mein grün-weißes Jugendzimmer, ich werfe den orangefarbenen “Wifona Hitmaster” an (kein Scheiß), mach die Platte an. Während ich selbst die ganzen Songs zum ersten Mal und beinah implodiere, sitzt Tantchen auf der Bettkante, zieht an ihrer “Kim” (viel zu zart für Männerhände) und sagt: ” Das klingt ja alles gleich”. Ich sah das natürlich anders. Tantchen ließ mich dann zur Versöhnung an ihrer Zigarette ziehen und wir gingen wieder ins Wohnzimmer zurück. Später hab ich die Platte im Dunkeln noch mehrmals gehört und war zu aufgeregt, um einzuschlafen.
Wie würdest Du das Album beschreiben? Was macht es zu DEM Album für Dich?
Für mich ist es DIE eine Platte, die immer da war. Schlicht und ergreifend. Die Teenager-Jahre sind so prägend, wenn dir in dieser Zeit ein Album auf diese Weise den Kopf abschraubt – das wirst du nie wieder los. Stress in der Schule, nervende Eltern, Pickel, Mädels, der ganze Irrsinn, da waren die Sex Pistols ein erstklassiger Fixpunkt, mein klanggewordener, ausgestreckter Mittelfinger. Der britische Fußballer Stuart Pearce hat einmal gesagt, er hätte „Never Mind The Bollocks“ so oft gehört, es ist mittlerweile in seinen Genen. Das ist natürlich herrlicher Quatsch, aber ich für meinen Teil empfinde genauso.
Recent Comments