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Past Daily: World of Music Listen to World of Music as Vurbl Partner Past Daily shares recordings the L.A. Philharmonic, Steel Mill, Stan Kenton, Dizzy Gillespie, Peter, Paul & Mary.

Gordon Skene, two-time Grammy Nominee and archivist runs The Gordon Skene Sound Archive and this website, which is dedicated to preserving and encouraging an interest in history and historic news, events, and cultural aspects of our society. Past Daily is the only place on the Internet where you can hear a Nixon speech, listen to an interview with John Cassavettes or play a broadcast of Charles Munch rehearsing the Boston Symphony in 1950, all in the same place. It's living history and it's timeless.
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The Stranglers - Live In Toronto - 1978 - Past Daily Soundbooth The Stranglers - Four decades of wreaking mayhem and still going strong.



The Stranglers - live at The Horseshoe Tavern, Toronto Ontario - April 14, 1978 - Gordon Skene Sound Collection -



The Stranglers in a (reasonably) early concert this week; performing live at The Horseshoe Tavern in Toronto on April 11, 1978.

From 1976 the Stranglers became associated with the burgeoning punk rock movement, due in part to their opening for the first British tours of American punks the Ramones and Patti Smith. Notwithstanding this association, some of the movement's champions in the British musical press viewed the band with suspicion on account of their age and musical virtuosity and the intellectual bent of some of their lyrics. However, Burnel was quoted saying, "I thought of myself as part of punk at the time because we were inhabiting the same flora and fauna ... I would like to think the Stranglers were more punk plus and then some."

The band's early albums, Rattus Norvegicus, No More Heroes and Black and White, all released within a period of 13 months, were highly successful with the record-buying public and singles such as "Peaches", "Something Better Change" and "No More Heroes" became instant punk classics. Meanwhile, the band received a mixed reception from some critics because of their apparent sexist and racist innuendo. However, critic Dave Thompson argued that such criticism was oblivious to the satire and irony in the band's music, writing: "the Stranglers themselves revelled in an almost Monty Python-esque grasp of absurdity (and, in particular, the absurdities of modern 'men's talk')." These albums went on to build a strong fan-following, but the group's confrontational attitude towards the press was increasingly problematic and triggered a severe backlash when Jean-Jacques Burnel, a martial arts enthusiast, punched music journalist Jon Savage during a promotional event.

In February 1978 the Stranglers began a mini-tour, playing three secret pub gigs as a thank-you to those venues and their landlords for their support during the band's rise to success. The first was at The Duke of Lancaster in New Barnet on Valentine's Day, with further performances at The Red Cow, Hammersmith, and The Nashville Rooms, West Kensington, in early September.

During their appearance at the University of Surrey on the BBC TV program Rock Goes to College on 19 October 1978, the group walked off stage because an agreement to make tickets available to non-university students had not been honored.

In the later half of the 1970s, The Stranglers toured Japan twice, joining the alternative music scene of Tokyo, which was evolving from the punk sound of Kyoto-based band 村八分 (Ostracism), whose music influence spread to Tokyo in 1971. The Stranglers were the only foreign band to take part in a landmark scene focussed around S-KEN Studio in Roppongi, and The Loft venues in Shinjuku and Shimokitazawa from 1977 to 1979. The scene included bands such as Friction, and they became friends with the band, Red Lizard, who they invited back to London, where the band became known as Lizard. In 1979, while still in Japan, Burnel also became close friends with Keith, co-founder and drummer for ARB. At the end of 1983, ARB's bassist was imprisoned, leaving the band with a problem for their forthcoming tour. Burnel took time out from The Stranglers to fly out to Japan at short notice and join ARB to cover the tour, including appearing at the 'All Japan Rock Festival' at Hibaya park, becoming the first non-Japanese to ever appear at the festival. Burnel toured with ARB for 5 weeks and played on two studio tracks, "Yellow Blood" and "Fight it Out", both of which appeared on the RCA Victor ARB album Yellow Blood.

For a sample of the band during their landmark 1978 period, crank up this concert from Toronto in 1978 and enjoy the high-voltage energy coming from your speakers.
Fontaines D.C. - Live At Eurosonic 2019 - Past Daily Soundbooth Fontaines D.C. - A taste of Irish post-Punk. (Photo: Tom Porter)




Fontaines D.C. - live at Eurosonic Festival - 2019 - January 17, 2019 - VPRO, Netherlands


Fontaines D.C. in concert tonight - live at Eurosonic 2019, recorded on January 17, 2019 by radio outlet VPRO in Holland.

Fontaines D.C. formed in Dublin in 2017. The band consists of Grian Chatten (vocals), Carlos O'Connell (guitar), Conor Curley (guitar), Conor Deegan III (bass), and Tom Coll (drums).

After meeting while attending music college, and bonding over a common love of poetry, the band began self-releasing singles and performing live regularly, signing to Partisan Records in 2018. The band's debut album, Dogrel, was released on April 12, 2019 to widespread critical acclaim, winning 'Album of the Year' accolades from both Rough Trade and BBC Radio 6 Music, and was nominated for the Mercury Prize and Choice Music Prize.

Fontaines started out self-releasing singles. In 2015 they were going to release their debut with music journalist John Robb Louder Than War label . In May 2017, Fontaines released the single "Liberty Belle" followed by the split "Hurricane Laughter / Winter In the Sun". "Liberty Belle" is in homage to the Liberties, a neighbourhood in Dublin where many band members lived.

In 2018, Fontaines released the single split "Chequeless Reckless / Boys In The Better Land" and "Too Real". Stereogum, who premiered "Chequeless Reckless" in early 2018, described their sound "a synthesis between post-punk, garage rock, and a kind of gritty, urbane sense of rhythm and narrative" and naming them a Band To Watch.

In May 2018, Fontaines played an in-studio at KEXP in Seattle, which provided high level exposure in the United States. In November 2018, the band signed with Partisan Records.

They released music videos directed by frequent collaborator Hugh Mulhern. The video for 2018's "Too Real" was inspired by The Pogues's 1985 song, "A Pair of Brown Eyes" and the band Girl Band, among other concepts. The 2019 video for the song Conor Curley co-wrote called Roy's Tune was directed by Liam Papadachi and was inspired by Curley's late night walks home from a job at a burrito shop.

Fontaines received tour support from Irish Arts Council which allowed them to tour internationally. They also received grant funding from RTÉ 2fm.

On April 12, 2019, the band released its debut album Dogrel on Partisan Records. The title "Dogrel" is an homage to Doggerel, working class Irish poetry – 'poetry of the people' – that dates back to 1630. It was popularized by William McGonagall and later Ogden Nash. The record was recorded live on tape.

The NME said that "Dogrel proves that early-days pinning as punk’s next great hope was perhaps premature – there’s far more to Fontaines D.C. than your typical thrashed-out, pissed-off young rebellion." The Guardian gave the album a five-star review, hailing it as a "perfect debut", and commending Chatten for embracing the Dublin accent. Paul Duggan gave the album an unprecedented 10 bananas out of 10. The Times said that their "Shouty post-punk bands are making a surprise comeback in 2019, with this brutal but articulate Irish bunch emerging as one of the most captivating. Capturing the feeling of living in Dublin as it balances historical weight with financial upheaval, the singer Grian Chattan makes his statement of intent by announcing in a monotone rant on the opener, Big: “Dublin in the rain is mine, a pregnant city with a Catholic mind."

In 2019, the band extensively toured 50 cities throughout Ireland, Europe, and North America. They have toured with Shame and Idles. They played nine sets at SXSW 2019 over the course of five days, selling out venues, and count Girl Band as a major influence.

They were the musical guest on The Tonight Show Starring Jimmy Fallon on May 1, 2019.

They were supposed to perform at the Glastonbury Festival, this was going to be the 50th anniversary of this festival but it had to be cancelled due to the increasing concerns over the COVID-19 pandemic.

The band released their second album on 31 July 2020, titled A Hero's Death. The band released the title track on 5 May 2020; the music video features Aidan Gillen. Chatten described the single as "a list of rules for the self".

Crank it up and relax - or not.
The Go-Go's - Live In Boston - 1981 - Past Daily Backstage Pass The Go-Go's - One of the cornerstone bands of America's New Wave movement.(Photo: Getty Images)



The Go-Go's - live at The Metro, Boston - broadcast live by WBCN - August 20, 1981 - Gordon Skene Sound Collection -


The Go-Go's in concert this weekend - broadcast live by WBCN, Boston at The Metro on August 20, 1981. The Go-Go's formed in Los Angeles, California in 1978. Except for short periods when other musicians joined briefly, the band has had a relatively stable line-up consisting of Charlotte Caffey on lead guitar and keyboards, Belinda Carlisle on lead vocals, Gina Schock on drums, Kathy Valentine on bass guitar, and Jane Wiedlin on rhythm guitar. The Go-Go's rose to fame during the early 1980s and were the first, and to date only, all-female band that both wrote their own songs and played their own instruments to top the Billboard album charts. They are widely considered the most successful all-female rock group in history.

Their 1981 debut album, Beauty and the Beat, is considered one of the "cornerstone albums of US new wave" (AllMusic), breaking barriers and paving the way for a host of other new American acts. When the album was released, it steadily climbed the Billboard 200 chart, ultimately reaching No. 1, where it remained for six consecutive weeks. The album sold over 2 million copies and went double platinum, making it one of the most successful debut albums of all time, and the group was nominated for the Best New Artist award at the 24th Annual Grammy Awards. The Go-Go's have sold over 7 million records worldwide.

The Go-Go's broke up in 1985 but reconvened several times through the 1990s and beyond, recording new material and touring. Though their 2016 performances were billed as a farewell tour, the band remains active on a sporadic ad hoc basis, most recently with three performances at The Hollywood Bowl in July 2018, and a short summer tour scheduled for 2021 with all five members from the longest-running line-up.

Head Over Heels, a musical featuring the songs of the Go-Go's, ran on Broadway at the Hudson Theatre from July 26, 2018 to January 6, 2019.

In case you missed them, here they are, right at the time of the release of their milestone debut album - crank it up and rock out.
999 In Session - 1978 - Past Daily Soundbooth 999 - one of the longest-lived groups in Punk history.




999 in session for John Peel - Recorded October 25, 1978 - Broadcast November 1 - BBC Radio 1


999 in session for John Peel to end the week. Their first (and only) session, recorded on October 25, 1978 and broadcast on November 1st over BBC Radio 1.

Named after the UK's emergency telephone number, 999 was founded in London by singer and guitarist Nick Cash, and Guy Days. Cash and Days are brothers. The former was a member of the pub rock band Kilburn and the High-Roads, and the latter was a session guitarist who played on some of the band's demo tapes. In late 1976, they placed an advertisement in Melody Maker for band members and ended up turning down Chrissie Hynde (The Pretenders), Jon Moss (Culture Club) and Tony James (Generation X). They recruited Jon Watson on bass and Pablo LaBritain on drums, LaBritain having briefly played with the Clash. The band that eventually became known as 999 performed their first concert at the Northampton Cricket Club in January 1977. After experimenting with several different band names, the band became 999 in May 1977.

999 soon established themselves as a powerful live act on the London punk scene and became regulars at the Hope and Anchor, Islington. On the strength of their well received, self-financed debut single, 999 were signed to United Artists Records around the same time as the Buzzcocks. "I'm Alive" became a firm favorite in the punk clubs. The band's second single, "Nasty Nasty", was cited nearly 20 years after its release as a seminal punk single.

Their self-titled debut album, produced by Andy Arthurs, was released in March 1978. One retrospective review claimed it "demonstrated their limitations as well as their strengths. The 45 cuts like "Me And My Desire" and "Emergency" demonstrated the latter, but the album lacked that special ingredient, uniqueness or originality to make it stand out from the crowd." The album reached No. 53 in the UK Albums Chart. The following year, the song "Emergency" from the album appeared — alongside songs by bands like The Jam and The Stranglers — on the punk compilation 20 of Another Kind. That album reached No. 45 in the UK chart. Years later, "Emergency" was included in Mojo magazine's list of the best punk rock singles of all time.

The band's second album, Separates was produced by Martin Rushent. One reviewer lists it as one of the best punk albums of all time. In the United States, a slightly altered version of Separates, re-titled High Energy Plan, became the band's first American release. In October 1978, a month after the album's release, 999 recorded their only session for John Peel at BBC Radio 1. 999 also played at Front Row Festival, a three-week event at the Hope and Anchor in late November and early December 1977. This resulted in the band's inclusion, alongside the likes of Wilko Johnson, The Only Ones, the Saints, The Stranglers, X-Ray Spex, and XTC, on a hit double LP of recordings from the festival.

999 toured widely in the United States and the band was rewarded when their albums The Biggest Prize In Sport and Concrete charted on the Billboard 200. In the US, "Homicide" and "Hollywood" garnered frequent rotation on Rock of the 80s format radio stations like KROQ in Los Angeles. According to Dave Thompson, "For many Americans, they were the first to actually bother with the backwoods, playing places which other Brit bands hadn't heard of, and returning to them again and again. And while no one knows how many American bands were first inspired to take up arms by 999, those that did still wear their loyalties loudly."

Despite a number of minor hit singles, the band's critical appeal in Britain had begun to wane. Their stock was lifted temporarily with the arrival of the self-released Face To Face. 999's popularity continued to decline steadily, leading to the group disbanding twice in the 1980s, reforming soon afterwards. They have since released several albums and continue to tour, including playing at the 11th Antifest in 2005. Bassick also plays for The Lurkers.

Despite having formed in 1976, 999 have only experienced two permanent changes to their original line-up and has continued to record and play live, leading AllMusic to describe the band as "one of the longest-lived groups of the punk era."

Hit the Play button and crank it up - get ready for the weekend.
And Also The Trees - Live In Lyon - 1988 - Past Daily Soundbooth And Also The Trees - Goth of the intense variety.



And Also The Trees - Live In Lyon - June 6, 1988 - RFI-FIP - Gordon Skene Sound Collection -


And Also The Trees in concert from Lyon and recorded on June 6, 1988 by RFI in Paris. The band formed in 1979 in Inkberrow, a large village in Worcestershire, with a lineup featuring two sets of brothers: Simon Huw Jones (vocals), Justin Jones (guitar), Graham Havas (bass) and Nick Havas (drums).

The band made their live debut on 12 January 1980 at Grieg Memorial Hall in Alcester. A home demo tape was sent to The Cure, who were looking for support bands on their tour, leading to a friendship between the two bands. In 1981, And Also the Trees played several shows in support of The Cure's UK tour. Their second demo tape, From Under the Hill (1982), was partly co-produced by Robert Smith and Mike Hedges. Graham Havas was replaced at this time by Steven Burrows.

In 1983, the band released their first single, "Shantell", which was produced by The Cure's Lol Tolhurst. Their second single, "The Secret Sea", followed in 1984 and was also produced by Tolhurst. Tolhurst also produced their debut studio album, And Also the Trees, which was released in February 1984. The band received the attention of BBC Radio 1 DJ John Peel, and were invited to do a session in April 1984, which was produced by Dale Griffin for broadcast on 24 April.

The EP A Room Lives in Lucy (1985) introduced the mandolin-like guitar sound which became their trademark for the next few years. It gave the band their only placing on the UK Independent Chart, peaking at number 30. The next album, Virus Meadow (1986), was followed by their first European tour, which yielded the live album The Evening of the 24th (1987). Another EP, The Critical Distance, was released in 1987. The singles "Shaletown" and "The House of the Heart", and the next album The Millpond Years (1988,) were produced by Mark Tibenham.

Farewell to the Shade (1989) was followed by the single releases of "Lady D'Arbanville" (a completely revised Cat Stevens cover) and the French-only "Misfortunes".

Fifteen studio albums later, the band are still together. To get an idea of what they were up to in the later 1980s, hit the play button and dive into this concert from Lyon.
Skids - Live At The Odeon, Edinburgh - 1979 - Past Daily Soundbooth Skids - had a huge influence on a number of bands in the 80s - U2 were among them (photo: Getty Images).




Skids - in concert - Live at The Odeon, Edinburgh - September 7, 1979 - Live and loud.com -

Skids in concert this Monday night. Recorded live at The Odeon in Edinburgh on September 7, 1979 and cleaned and spiffed up by Flip Martian for Live and Loud.com.

Skids were formed in Dunfermline, Fife, in 1977 by Stuart Adamson (guitar, keyboards, percussion and backing vocals), William Simpson (bass guitar and backing vocals), Thomas Kellichan (drums) and Richard Jobson (vocals, guitar and keyboards). Their biggest success was the 1979 single "Into the Valley" and the 1980 album The Absolute Game.

cord included "The Saints Are Coming", which was later covered in late 2006 as a charity single by U2 and Green Day.

Skids played their first gig on 19 August 1977 at the Bellville Hotel in Pilmuir Street, Dunfermline, Scotland. Within six months they had released the Charles EP on the No Bad record label, created by Sandy Muir, a Dunfermline music shop owner turned manager. The record brought them to the attention of national BBC Radio 1 DJ John Peel. This led to a local gig supporting The Clash. Virgin Records then signed up Skids in April 1978. The singles "Sweet Suburbia" and "The Saints Are Coming" both made commercial inroads, before "Into the Valley" reached the UK Top 10 singles chart in early 1979. The band released their debut studio album, Scared to Dance, the same year. It was recorded at The Townhouse Studios in London, England with production and keyboards by David Batchelor. Adamson walked out towards the end of the sessions before all the guitar overdubs were completed. Session guitarist Chris Jenkins was chief maintenance engineer at Townhouse studios and completed the album using Adamson's studio set up, adding additional guitar to four tracks – "Into the Valley", "Integral Plot", "Calling the Tune" and "Scared to Dance". In the meantime, Adamson returned to Scotland when the recording was finished. He rejoined the band for the live concert tour promotion of the album. The record included "The Saints Are Coming", which was later covered in late 2006 as a charity single by U2 and Green Day.

Skids enjoyed a further year of chart success as "Masquerade" and "Working for the Yankee Dollar" reached the UK Top 20 singles chart. Both came from their second album, also released in 1979, Days in Europa, with the record's production and keyboards by Bill Nelson (Be-Bop Deluxe, Red Noise, Channel Light Vessel and solo artist). Nelson was the obvious choice for the record's production duties as he was not only Adamson's principal 'guitar hero' but also an enormous influence on Adamson's playing. Nelson also played an important role in polishing Skids' sound and in encouraging the development of Jobson's lyrics. Just before recording of the album commenced, Kellichan left the band and was temporarily replaced on drums by Rusty Egan (ex-Rich Kids, then with the band Visage and a New Romantic 1980s dance DJ at the Blitz club). Egan played on the album and later on the live concert tour of the record.

For a reminder, here is one of the concerts from their 1979 tour. Crank it up and enjoy.
Marquis De Sade - In Session - 1981 - Past Daily Soundboooth Marquis de Sade - French post-punk. Short-lived, but well-received.



Marquis de Sade - live at le Palladium, Geneva - March 11, 1981 - Gordon Skene Sound Collection -


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Short-lived French Post-Punk/New-Wave band Marquis de Sade in session tonight. Recorded at Le Palladium in Geneva on March 11, 1981 presumably for Swiss Radio.

Not a household name at the time, but a band that made its presence known and made a lasting impression because of that.

Their bio via All Music by Oliver Duboc:
Formed in 1977, Marquis de Sade were one of the truly classic French combos of the late '70s and early '80s, leaving a lasting imprint on the Rennes music scene. In three years, Franck Darcel (guitar), Christian Dargelos (keyboards), Philippe Pascal (vocals), and an ever-changing set of additional musicians came up with two major records in French pop/rock history, both containing witty, dark, and exciting music comparable to Howard Devoto's Magazine, mixing post-punk and new wave with a drop of funk to produce an intensely nervous, modern, yet romantic sound, often copied but rarely equaled. After a first EP (Air Tight Cell/Henry), their first album, 1979's Dantzig Twist, was recorded in collaboration with Arnold Turboust (later to collaborate with Etienne Daho) on keyboards and Daniel Paboeuf on saxophone. Their material having made a strong impression and after the release of another EP (Rythmiques) in 1980, Marquis de Sade recorded Rue de Siam at separate sessions in Paris and London, showing signs of strained relations within the band. As a matter of fact, this 1981 release was their last. The band's 1981 breakup led to the formation of half a dozen groups, such as Marc Seberg (including Philippe Pascal, Pierre Thomas, and Anzia) and Les Nus (featuring Christian Dargelos). Among numerous projects, Franck Darcel formed Octobre and went on to produce rising star Etienne Daho. Though Marquis de Sade didn't achieve mass popularity, the band has earned nearly cult status, and has achieved some recognition alongside '80s underground faves like Taxi Girl during the mid-2000s new wave/post-punk revival.
I definitely hear comparisons to Magazine. It's a shame they didn't do more, but this relatively rare document gives some indication of what they were like live - and that would been something to see.

Couldn't be everywhere all the time - especially in 1981.

Crank it up and get ready for the weekend.
999 Live At Old Waldorf - 1979 - Past Daily Soundbooth 999 - The Second British Invasion was landing on our shores in droves.



999 Live at Old Waldorf, San Francisco - April 4, 1979 - KALX-FM, UC Berkeley - Gordon Skene Sound Collection -

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999 Live at Old Waldorf in San Francisco - recorded and broadcast live on KALX-FM, the campus radio station for UC Berkeley on April 4, 1979.

999 were part of what came to be known as The Second British Invasion; the onslaught of Punk acts spreading over the U.S. and taking over America's FM radio, at least the College and alternative Rock stations, the former "underground" FM stations were slow to warm to this new genre.

999 was founded in London by singer and guitarist Nick Cash, and Guy Days. Cash and Days are brothers. The former was a member of the pub rock band Kilburn and the High-Roads, and the latter was a session guitarist who played on some of the band's demo tapes. In late 1976, they placed an advertisement in Melody Maker for band members and ended up turning down Chrissie Hynde (The Pretenders), Jon Moss (Culture Club) and Tony James (Generation X). They recruited Jon Watson on bass and Pablo LaBritain on drums, LaBritain having briefly played with the Clash. The band that eventually became known as 999 performed their first concert at the Northampton Cricket Club in January 1977. After experimenting with several different band names, the band became 999 in May 1977.

999 soon established themselves as a powerful live act on the London punk scene and became regulars at the Hope and Anchor, Islington. On the strength of their well received, self-financed debut single, 999 were signed to United Artists Records around the same time as the Buzzcocks. "I'm Alive" became a firm favorite in the punk clubs. The band's second single, "Nasty Nasty", was cited nearly 20 years after its release as a seminal punk single.

Their self-titled debut album, produced by Andy Arthurs, was released in March 1978. One retrospective review claimed it "demonstrated their limitations as well as their strengths. The 45 cuts like "Me And My Desire" and "Emergency" demonstrated the latter, but the album lacked that special ingredient, uniqueness or originality to make it stand out from the crowd." The album reached No. 53 in the UK Albums Chart. The following year, the song "Emergency" from the album appeared — alongside songs by bands like The Jam and The Stranglers — on the punk compilation 20 of Another Kind. That album reached No. 45 in the UK chart. Years later, "Emergency" was included in Mojo magazine's list of the best punk rock singles of all time.

The band's second album, Separates was produced by Martin Rushent. One reviewer lists it as one of the best punk albums of all time. In the United States, a slightly altered version of Separates, re-titled High Energy Plan, became the band's first American release. In October 1978, a month after the album's release, 999 recorded their only session for John Peel at BBC Radio 1. 999 also played at Front Row Festival, a three-week event at the Hope and Anchor in late November and early December 1977. This resulted in the band's inclusion, alongside the likes of Wilko Johnson, The Only Ones, the Saints, The Stranglers, X-Ray Spex, and XTC, on a hit double LP of recordings from the festival.

999 toured widely in the United States and the band was rewarded when their albums The Biggest Prize In Sport and Concrete charted on the Billboard 200. In the US, "Homicide" and "Hollywood" garnered frequent rotation on Rock of the 80s format radio stations like KROQ in Los Angeles. According to Dave Thompson, "For many Americans, they were the first to actually bother with the backwoods, playing places which other Brit bands hadn't heard of, and returning to them again and again. And while no one knows how many American bands were first inspired to take up arms by 999, those that did still wear their loyalties loudly."

Despite a number of minor hit singles, the band's critical appeal in Britain had begun to wane. Their stock was lifted temporarily with the arrival of the self-released Face To Face. 999's popularity continued to decline steadily, leading to the group disbanding twice in the 1980s, reforming soon afterwards. They have since released several albums and continue to tour, including playing at the 11th Antifest in 2005. Bassick also plays for The Lurkers.

Hit the Play button and dive into 999 from 40 years ago.

Yes - I said 40 years . . .

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The Damned In Session - 1976 - Past Daily Soundbooth The Damned (Rat Scabies - Dave Varian) - The Sex Pistols seemed like also-rans.



The Damned - in session for John Peel - Recorded November 30, 1976 - Broadcast December 10 - BBC Radio 1 -

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The Damned to end the week. Their first session for John Peel, recorded on November 30, 1976 and aired on December 10th.

If memory serves, I heard New Rose by The Damned weeks before I heard Anarchy In The UK by The Sex Pistols. Which band made a bigger impression? Hands down, The Damned. It was a record I couldn't get enough of - and coming from an environment that was fairly drenched in West Coast/laid-back or Arena Rock - where things had taken a decidedly pretentious turn and album productions were becoming increasingly more bloated and grandiose - or the laid back was bordering on the comatose, The Damned were a much-needed kick in the ass.

Not everyone felt the same way though - in fact, after my sojourn to London in 1976, coming back loaded down with all these new and interesting records - I was met with instant hostility and a goodly amount of derision for having lost my sense of taste and certainly my hearing. When I presented a Disc Jockey friend with an EMI promo copy of Anarchy In The UK, it was promptly snapped in half on the air, and my soon-to-become former friend vowed it would never be heard again. Pretty much the same for The Damned (although I vice-grip guarded my solitary copy and no one could touch it). The word all over L.A. was this new music from the UK was crap and nobody would be interested in it.

Punk was exploding in the UK - I saw it and could vouch for it. Los Angeles, the West Coast in General and most of America wouldn't warm up to it for many months, having dipped toes in The Ramones, but this first generation of Punk Rock from the UK was pretty much looked at with dread. However, lest you think that was the universal opinion, you'd be dead wrong - because there were people who were listening, who had friends who knew people who sent records over, and Punk began to make inroads - first as a purely underground fringe genre and then, as bands started developing their own takes on Punk, the sub-genre started making its presence known and eventually the DIY school of getting your message across was spreading all over.

So this session from The Damned is important on a lot of levels - it's the first session done for John Peel - they have, by many if not all accounts, been designated the first of the initial Punk bands to arrive on the scene. New Rose has been regarded as one of the best records of all time by numerous journalists, including many who held their noses while listening to it the first time around. How times changed.

The Damned represented a blast of energy that was impossible to ignore - it shook the foundations of complacency and make Rock the upstart, outcast, loud and snotty art form it had always been - and for that, they will always be held in the highest regard.

No doubt, almost nobody in the U.S. heard this first Peel session - so this one may be new to you. Either way, it's imperative you crank this one up and pretend it's 1976 all over again.
The Futureheads - In Session - 2019 - Past Daily Soundbooth The Futureheads - Back from hiatus - refreshed, recharged, re-booted.





The Futureheads - In session For Marc Riley - BBC 6 Music - June 2019 - BBC 6 Music -


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The Futureheads to kick off the week. Recorded in session for Marc Riley at BBC 6 Music in June of this year.

In a 2015 interview on BBC Radio 6 Music, Dave Hyde said that The Futureheads are no longer a working band, with both his brother Barry and Jaff teaching; Barry Hyde was also working on a "piano based" solo album. However, the band got together to record a health awareness video using their song Heartbeat Song for BUPA which was released in April 2016.

In January 2019, the band announced they had reformed, had written and recorded new material during 2018, and their first tour dates since 2013. On June 5th, they released "Jekyll", the lead single from their first album in seven years, Powers, which was later released on 30 August.

This month (December) they are doing a whole pile of gigs around the UK and there is rumor of a big tour coming up in 2020.

The Sunderland indie veterans, who rose to fame in 2004 with their self-titled debut album containing the singles ‘Decent Days And Nights’ and their staple cover of Kate Bush‘s ‘Hounds Of Love’, have not released an album since 2012’s a capella album ‘Rant!‘. During the hiatus, frontman Barry Hyde released solo material.

Now, the band have confirmed their return, sharing footage from the studio, news on a new record, and unveiling nationwide shows this summer.

“The Futureheads breathe frantically once more,” said the band in a statement. “After our a cappella album ‘Rant!’, strapping the electric guitars back on seemed suddenly alien. A hiatus was needed: around 2000 days it seems…

“Over the past 12 months we’ve been chipping away at our 6th album. It is the culmination of every ounce of energy we have: a return, we hope, to bombastic, daring, creative righteousness. We are almost finished. We are in love with this record. We believe in it.”

They added: “We can’t wait to see you again. The Futureheads are coming soon.”


The Futureheads breathe frantically once more.We're getting back on the road for a UK tour as we finish recording our 6th album: a return, we hope, to bombastic, daring, creative righteousness. The time is right and we can't wait. Tickets at thefutureheads.com

Posted by The Futureheads on Tuesday, January 22, 2019

The band’s upcoming UK tour dates are below. Tickets are on sale from 9am on Friday January 25 and will be available via their website.

Saturday May 4 – STOKE Sugarmill
Tuesday May 28 – CARDIFF Globe
Wednesday May 29 – LONDON Garage
Thursday May 30 – BRIGHTON Concorde 2
Friday May 31 – NORWICH Waterfront
Saturday June 1 – NOTTINGHAM Rescue Rooms

Of his 2016 solo album ‘Malody’, Hyde previously said that it was written about his mental health struggles during his time with the band.

“I was just kind of being pushed along by this thing, and it wasn’t until I’d reached a point where we were having longer breaks in between albums and not doing as much touring that I started to see it and realize that I was completely messed up,” he said. “This ecstasy of creating something followed by disillusionment is something that any creative person will experience. But because I had gone unchecked for some time, the illness had developed into something quite dangerous.”

He added: “We kept going and we had amazing fun, but there was always pressure on me to have ideas and sometimes I wasn’t a very good leader.”


Plug it in and turn it up.
The Deadbeats - Live At The Masque - 1977 - Past Daily Sounbooth Scott Guerin of The Deadeats - all good, clean psychotic fun in a parallel universe.



The Deadbeats - Live At The Masque, Hollywood - 1977

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Ending up our tour of the L.A.Punk/post-Punk/Experimental scene of the 1970s and 1980s with a set by The Deadbeats, in a performance at The Masque in Hollywood in 1977.

David Brown has a few words in this article from the Munster Records website:
'The musicianship of the young men who comprised the Deadbeats was a joy to behold. Scott Guerin and his brother Shaun played as extensions of the same self, and the band also served to unleash Geza X and Pat Delaney on the world. Their stage act musically and visually confounded every cliche and preconception about what “punk rock” meant. Their unique, driving sound consisted of treated sax and fuzz guitar layered over flawlessly executed intricate rhythm patterns'. (David Brown)

And the Monorail Music website has this:

"In the beginning there was a lot of musical talent that was going to unrecorded waste. Whereas the English musicians had been set upon by some of the top producers in the business, the very lack of commercialism implicit in LA punk seemed to drive away potential resources. Those were culturally weird times, "Saturday Night Fever" and burned-out super group remnants filled the airwaves. Clearly SOMETHING was better than nothing. The early groups (like the Screamers, Germs, Weirdos, Black Randy) were very good at manipulating the local venue owners and press, and were able to almost immediately fill clubs and halls with folks who were just plain bored and curious."

Just barely scratching the surface in what was a very inspired and committed scene in Southern California. It's often gone overlooked, as many of the "backbone artists" of just about any movement are in favor of the broad stroke bands that made the bigger splash and the broader appeal. Still, it was these bands; the quirky, insane, dissonant, snotty and downright deranged conglomerations of musicians that were an integral part of the big picture. And that's an important consideration to make when you're investigating any genre - or any musical movement - it's the sum total of all the parts that were crucial in making any movement as vital as many have wound up being. It's an invitation to go digging and make your own discoveries, there's a lot to be had.

And on that happy note - crank this sucker up.
100 Flowers - In Session 1983 - Past Daily Soundbooth 100 Flowers - formerly, The Urinals - Came to epitomize the L.A. Underground scene of the 80s.




100 Flowers - In Session at KPFK-FM, Los Angeles - January 22, 1983 - Gordon Skene Sound Collection -

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Continuing our informal week of looking at the L.A. Punk/post-punk/Alternative/New-Wave/Lo-Fi scene of the 1970s and 80s with 100 Flowers, in session at KPFK and broadcast live on the 12 o'Clock Rock program from Studio Z on January 22, 1983.

Here's a blurb from Superior Viaduct, who are offering a re-issue of their 1983 album:

100 Flowers (previously known as The Urinals) were a power trio whose sole 1983 album is an enduring document of the Southern California underground. Based in crime-ridden '80s Los Angeles against the backdrop of juvenile hardcore and vapid hard rock, they crafted a sound that rests between the inspired bursts of The Minutemen and the pastoral jangle of The Dream Syndicate with similarities to the equally oblique Monitor and The Gun Club (who even included a Urinals cover in their set).

The trio wielded a gripping visual aesthetic and hyper-literate lyrical content that reflected their art-school backgrounds, while a ferocity and frustration borne out of their bleak urban environment permeates their songs. Strains of UK post-punk can be heard on "All Sexed Up" and skittish tension on "Presence of Mind." A far cry from the beach punk and surf rock of their contemporaries, album closer "California's Falling into the Ocean" contains all of their signature qualities: off-kilter delivery, subversive sentiments, and an irrefutable pop sensibility that reflects their immersion in LA's burgeoning Paisley Underground scene. The band splintered shortly after the release of this album, but time has only intensified the urgency of 100 Flowers' music.

Needless to say, it's further proof L.A. had a healthy Music scene going during the heyday of Punk and the dawn of Paisley Underground during the late 1970s and early 1980s. There was also a lot going on and a lot of bands who came, went and left impressions - 100 Flowers were one of them.

Crank this one up.
Shadow Minstrels - In Session 1982 - Past Daily Soundbooth Shadow Minstrels - Odds were placed they would go far. However . . .



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Mid-way through our tour of 70s and 80s L.A. bands during the Punk/Post-Punk/New Wave/Experimental/Alternative period. Tonight it's a set from Shadow Minstrels, in session at KPFK-FM on November 20,1982.

A few choice words via their bio at Last.FM:
"The shadow minstrels were from the underground art scene in los angeles in the early 80's.they played al's bar,the lingerie club and madame wongs west alot.they also played theoretical events and were a major part of the art scene.bass player"zap barreau"was in other bands also including "the fiends","the happy bats","powertrip" and "45 grave" for a little while.zap was well known in the l.a. scene.he went to many shows and knew alot of people,including the red hot chili peppers and green on red,x,social distortion,and many more.he left hollywood in 1987 after too many friends od' on drugs.he had to save himself.he has a home in ontario,ca. now.the discography of the shadow minstrels is as follows:GREAT EXPECTATIONS EP,RADIO TOKYO TAPES VOLUME 2,RADIO TOKYO TAPES BEST OF.other bands they played with was OUTER CIRCLE,PNUEMONIC DEVICES,WALL OF VOODOO,B-PEOPLE AND TOO MANY OTHERS TO NAME.they survived 4 years together till BRUCE SPRINGSTEEN took tj murphy, the singer, to breakfast in arizona with NILS LOFGREN and changed his mind about the direction of the shadow minstrel's music.rick morrison ,patricia morrison's(sisters of mercy,gun club,the bags)husband and creater of the band, left the band over direction disputes with tj and it was over.they could have went far.oh well,that's how it rolls!"

So sez Last.FM - Not that unusual with many, if not most bands during this or any other period. It's just the nature of the beast and why everybody can't be a rock star - whether you deserve it or not. Shadow Minstrels were several cuts among many of the bands on the scene at the time - but that's no criteria, it seems. A good band with some influence on the scene around L.A. at the time, in a rare live session with a goodly chunk of indebtedness going to KPFK-FM for having the foresight to do something like this, even if it was between Midnight and three a.m.

Crank it up for a listen.
Saccharine Trust - In Session - 1985 - Past Daily Soundbooth Saccharine Trust - described as everything from True Modernists to Black Sheep. Heads nod in agreement.



Saccharine Trust - In Session at KPFK-FM - August 17, 1985 - Gordon Skene Sound Collection -

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Continuing our listening session to L.A. bands of the 70s and 80's. Saccharine Trust, in session at KPFK-FM on August 17, 1985.

Saccharine Trust formed in 1980 by singer Jack Brewer and guitarist Joe Baiza. The band would frequently perform with SST labelmates Minutemen and Black Flag. However, Baiza described Saccharine Trust as the "black sheep" of the SST roster. Drummer Rob Holzman appeared on their 1981 debut Paganicons but left the band to play in Slovenly, replaced by drummer Tony Cicero. After a ten-year hiatus circa 1986 to 1996, the band re-formed and began performing around the West Coast.

Baiza describes the band's sound as "poetry music" or "mini-theater."

Joe Baiza met Jack Brewer in Wilmington, California while looking for a summer job. Brewer was already in a band called The Obstacles with Marshall Mellow on guitar, William Trujillo on drums and Joe Burgos singing and playing organ. Baiza wanted to join the band so he suggested the need for a bass player and ended up taking the position. The group was initially more mainstream but Baiza slowly pushed them in a punk rock direction. One by one band members quit until finally it was just Brewer and Baiza.

The band's lineup continued to change over the years and even broke up in the 1990s before being revived in 1996. The reformed lineup of Baiza, Brewer, Brian Christopherson on drums and Chris Stein on bass is considered the "best version" by Baiza and was together longer than the original version of the band. In late 2018, Stein died after a two-year battle with cancer.

In his journals, Nirvana guitarist Kurt Cobain listed Saccharine Trust's Paganicons as one of his Top 50 favorite albums. Buzz Osborne of The Melvins stated in the book Everybody Loves Our Town: An Oral History of Grunge that Saccharine Trust were hugely influential in terms of atmosphere. Sonic Youth covered their song "I Am Right" on the SST compilation The Melting Plot. Double bassist Damon Smith has credited the album with altering his views on punk rock, jazz, and free-form jamming. Weasel Walter has described Saccharine Trust as "true modernists".

Crank it up and dive in.
The Dictators - Live At WCMF-FM - 1977 The Dictators - Proto-Punk from The East Coast



The Dictators live in session - WCMF-FM, Rochester New York - September 26, 1977 - Gordon Skene Sound Collection -

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For aficionados of early Punk, a set from New York's very own Dictators, featuring Handsome Dick Manitoba, recorded live at WCMF-FM, Rochester New York on September 26, 1977.

Celebrated as one of the seminal bands of the New York Punk scene, The Dictators were more of a band "heard about" than actually heard. I remember when they were first signed to Epic and the label was promoting them. The Dictators were Hard Rock, not Metal - and maybe that was the problem - mainstream record labels have historically gotten things wrong as far as marketing is concerned. But in their defense, there was no Punk movement going on in the U.S.at the time (1973). There was Glam and there was Metal, and it was a bit later that an alliance of sorts was formed and the two more or less morphed into each other. But The Dictators were a hard sell, especially to an audience getting its feet wet with T. Rex and David Bowie. So in retrospect, it's not that hard to understand why they called it quits briefly before re-appearing and laying the groundwork for what would become the New York Punk scene.

The Dictators live has been well documented, with numerous concert and club gigs recorded and preserved over the years. I'm not sure if this radio studio gig at WCFM in Rochester New York has been issued in any form, but it gives a pretty accurate flavor of the band and the ear-splitting sonics they were knee-deep in.

Their legacy has grown considerably over the years. Critic John Dougan said that they were "one of the finest and most influential proto-punk bands to walk the earth." And their debut album, "The Dictators Go Girl Crazy" from 1975 has been considered the holy grail of sorts, since it's been out of print for decades and never sold that well to begin with, which means there's not that many copies floating around.

If you've missed them the first time around or they've fallen off your radar - here's a reminder of what Loud and Snotty sounded like in the 1970s. Since this show is being recorded live, the mixer is doing it on the fly and, even though the vocals are clear, the rest of the band descends into electronic mush occasionally. Such is the state of live gigs sometimes.
The Scars - In Session - 1981 - Past Daily Soundbooth Scars, or The Scars - From the Post-Punk hotbed known as Edinburgh.



(The) Scars - In session for John Peel - Recorded May 20, 1981 -Broadcast June 4 - BBC Radio 1

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Scars to start off the week (or The Scars as they were first known). A taste of Scottish Post-Punk by way of Edinburgh for the second (and last) session for John Peel, recorded on May 20,1981 and broadcast on June 4.

The Fandom website does a good job of breaking it down and giving the details on this band - so here goes:
"Fronted by Robert King and featuring Paul Research on lead guitar, John Mackie on bass, and Calumn Mackay on drums, the band's original sound was angular and offset with a dance-based rhythm section, as evidenced by their 1979 single for Fast Product "Horrorshow"/"Adult/ery". The band's popular set-closing song "Your Attention Please" appeared as a free gold flexi-disc in the first issue of the influential London-based style magazine i-D. This aforementioned song would later be included in the band's 1981 (and sole) album Author! Author!, but in the meantime the group maintained an ever-mounting momentum and attention via singles releases and constant touring, and soon they were noticed by John Peel. Peel invited the band to record two of his legendary Sessions, once in February 1980 and another in May 1981.

By the time the band started recording Author! Author!, their sound had matured from being rough and aggressive to something more melodic. From that album sprang perhaps the most recognizable Scars song out there, "All About You", which was the only single launched directly from that album. Calumn Mackay left Scars the year prior to the album's release, so Steve McLaughlin took over drumming duties for the band at around this time. The band continued to receive positive attention and increase their fan base as they were first able to co-headline gigs with the Comsat Angels, then headline gigs with Josef K as their supporting act. Scars even managed to land a full-page spread in Smash Hits. By that time, the band was headquartered in London

In the summer of 1982, Scars landed a supporting slot with Australia's The Church as the headliners. This was to be the beginning of the end for the band. Having been together—and constantly playing live gigs—since they were all teenagers in 1977, the glue that held the band together started to weaken. Robert King left the band and the rest of the band members, in turn, tried to keep the band going as a cohesive unit with Paul Research taking over lead vocal duties. The band recorded a song called "Bone Orchard" for a planned second album that never materialized; at year's end, the Scars were no more. King would soon go on to modest but temporary success as a solo artist (the synthpop-ish "Paper Heart" being the most notable of his recordings), but by the mid '80s the various Scars bandmates have been content to continue being musicians and pursuing other interests beyond the glare of the limelight."

Over to you - now crank it up.
The Vapors - Live In Boston - 1980 - Past Daily Soundbooth The Vapors - Short lived, but spiky.(Photo: Getty Images)




The Vapors - Live At 15 Landsdown Street, Boston - September 11, 1980 -


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The Vapors, in concert at 15 Landsdown Street in Boston in September 11, 1980.

Led by vocalist/guitarist Dave Fenton, the Vapors were a short-lived new wave guitar group that is best known for the spiky pop single "Turning Japanese." Fenton formed the first version of the Vapors in 1978, yet he was the only member to survive that lineup; in 1979, former Ellery Bops members Ed Bazalgette (lead guitar) and Howard Smith (drums) joined the band, and bassist Steve Smith came aboard shortly afterward. One of the band's first concerts was seen by the Jam's Bruce Foxton, who asked them to perform on his group's Setting Sons tour. Before long, the Vapors were managed by Foxton and John Weller, the manager of the Jam, as well as the father of the group's leader, Paul Weller.

The Vapors signed to United Artists, releasing their first single, "Prisoners," at the end of 1979; it failed to chart. "Turning Japanese," the band's second single, became a major hit, reaching number three on the U.K. charts in March of 1980. New Clear Days, the band's debut album, was released two months later, which didn't sell as well as the single. In 1981, the Vapors released the more ambitious Magnets, yet it received lukewarm reviews and poor sales; the group disbanded shortly after its release.

Short lived, but within that relatively short period of time, The Vapors were quite a good band live, and really were capable of being more than the One-Hit-Wonders they have been unjustly labeled as. But that's just the nature of the beast and why the Rock history books are filled with the names of bands that, even though they may not be familiar now, were stars-on-the-rise at the time, and for whatever reason, either didn't live up to the hype or didn't live up to the Record Company's investment. It is, after all, business.

But forget all that and just crank this one up and enjoy it, as you might have 39 years ago.
Chelsea In Concert - 1979 - Past Daily Soundbooth Chelsea - August 1976 was when it all changed.



Chelsea In Concert - Paris Theatre, London - In Concert series - September 29, 1979 - BBC Radio 1

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Chelsea in concert tonight - recorded live at The Paris Theatre in London for the In Concert series by BBC Radio 1 on September 29, 1979. Almost 40 years to the day that this gig was recorded - how years have flown by. This is, in reality, Chelsea 3.0 - the first incarnation of Chelsea split in late 1976, with members going off to form what we later came to know as Generation X. This is the five-piece incarnation that that came about in December of 1977. The new Chelsea sported rhythm guitarist Dave Martin, bassist Geoff Myles and drummer Steve J Jones joining October and Stevenson. Extensive gigging and the third single Urban Kids was released before drummer Chris Bashford replaced Steve J Jones. The first album was released in early 1979 and the band continued to tour extensively including UK dates supporting The Clash and another tour, with The Police supporting them ! They also made their first foray into the U.S with an East Coast tour. As the first album contained none of the band's singles, a compilation of them was released as the second album; 'Alternative Hits' which also featured a couple of new tracks. The album sleeve designed by drummer Chris Bashford was banned in the U.S and so renamed 'No Escape' for that territory.

Flash forward to 2019 - Starting the year with Undercover Festival Chelsea did a handful of UK shows and a European tour in September. Writing is underway for a new album due to be recorded early next year.

With numerous personnel changes as well as breakups and reunions, they are still together.

But to get an idea of what the third incarnation of Chelsea sounded like, crank this concert from 1979 up and enjoy the hell out of it.
BB Brunes - Live At RTL, Paris - 2017 - Past Daily Soundbooth: Rock Without Borders Edition BB Brunes - what the "New French Rock Scene" is all about - betcha didn't know, did you?



BB Brunes - In Concert at RTL Studios, Paris - December 15, 2017 - RTL

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"New" French Rock, if you haven't heard it before - been around for a while if you have. BB Brunes, in concert at RTL Studios in Paris and recorded on December 15, 2017.

The French Rock scene has been making international headway in recent years, with bands like Phoenix and Daft Punk making the festival circuit in the U.S. and establishing themselves on U.S. charts and getting airplay on U.S. radio stations. Pretty good, considering that only 20 years ago you couldn't get arrested if you were a band from a non-English speaking country, no matter how good you were. Much of it had to do with an unwillingness to accept non-English lyrics, which many bands at the time weren't doing. That created a problem because it meant a large market wasn't being introduced to music that really needed exposure.

But all that's changed in recent years, and even some bands whose English lyrics make a small percentage of their material are getting heard and seen in places they wouldn't have before.

In 2000, Adrien Gallo, Karim Réveillé and Raphaël Delorme, childhood friends, formed the band "Hangover" with songs exclusively in English.

Some years later, Raphaël left the band at the moment when they were signing their first contract. The new lineup found a new guitarist, Félix Hemmen, who enjoyed their music. In 2007, the bassist Bérald Crambes joined the band.

In 2005 they participated at the Emergenza music festival in Paris until the final.

The band took the name BB Brunes, inspired by the name of the song "Initials BB" by Serge Gainsbourg and by Paris's boulevard Brune, where the band then did their rehearsals. The band's musical influences are punk and rock groups from the 1960s and 1970s as well as current groups such as The Strokes, Amy Winehouse, The Clash, David Bowie, Ray Charles and singers like Serge Gainsbourg, Jacques Dutronc, etc. Their lyrics are mostly in French.

In 2009, the group won a Victoires de la musique in the category 'Group or artist stage revelation of the year'. The band is currently on hiatus, the lead singer released his debut solo album in November 2014.

If you're not familiar with BB Brunes, you can get familiar with them right here, by hitting the Play button and cranking it up.

Works like a charm.
Psychedelic Furs - Live At Hammersmith Odeon - 1984 - Past Daily Soundbooth Psychedelic Furs - The band many bands point to as guiding lights.



Psychedelic Furs - Live at Hammersmith Odeon - May 29, 1984 - BBC Radio 1 - In Concert -




Psychedelic Furs to end the working week. Recorded by the BBC for Radio 1's In Concert series (as well as transcription Service), on May 28, 1984 - this concert comes right during the time of the release of their 4th album Mirror Moves, putting them right in the middle of their post-Punk/New Wave period. Mirror Moves was produced by Keith Forsey, and featured the songs "The Ghost in You" and "Heaven". Both charted throughout the world, and "Heaven" became the band's highest charting UK hit at the time. Strangely, however, "Heaven" was never released as a single in the U.S. Instead, Columbia Records opted for "Here Come Cowboys", despite both international success and heavy MTV airplay for "Heaven". "Here Come Cowboys" failed to chart, but "The Ghost In You" was a hit single on the U.S. Billboard Hot 100.

By the mid-80s, the band had become a staple on both U.S. college and modern rock radio stations. Simultaneously, they were experiencing consistent mainstream success, placing several singles in the pop charts on both sides of the Atlantic.

In 1986, the band recorded a sax-infused version of "Pretty in Pink" for the soundtrack of the film of the same name. Butler later claimed that the success of "Pretty in Pink" caused the band to be pressured into entering the recording studio to record a follow-up release before they were ready. The result was Midnight to Midnight, their biggest Top 40 success to date, but also a more overtly commercial effort than the Furs had ever recorded before. The album also featured the single "Heartbreak Beat", which became the Psychedelic Furs biggest hit yet on the U.S. Top 40. The album also featured drummer Paul Garisto and sax player Mars Williams, both of whom continue to tour with the band.

In the wake of Midnight To Midnight, the Furs found themselves dissatisfied with their new commercial direction, and subsequently returned to a rawer sound with "All That Money Wants", a 1988 track especially recorded for a best-of compilation album "All Of This And Nothing". 1989's Book of Days and 1991's World Outside also saw a return to the earlier Furs' style.

Because the band went through numerous style and genre changes over the years, it's sometimes hard to pinpoint a particular favorite period, or period that made the biggest impression. In a way, that's good because it makes the band a kind of "all-things-to-all-people" - although there are periods, say the Post-Punk period, which stand out, while losing fans in the process when they went the Hard Rock route. But then there are fans of The Furs during their Hard Rock period which they weren't during their New Wave period. At least with Psychedelic Furs you had a choice.

So to give you an idea of where they were during 1984 and their New Wave period, hit the play button and have a listen to May 28, 1984.

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Bad Brains - Live In Amsterdam - 1987 - Past Daily Soundbooth Bad Bains - Happily defying classification.



Bad Brains - Live At Against Tones Festival - Paradiso Theatre, Amsterdam - May 28, 1987 - VPRO - Netherlands -




Looking around for something that echoed the current state of affairs, I could find no better example than to run a concert given by Washington D.C.'s own Bad Brains - in concert during the Against Tones Festival in Amsterdam at the Paradiso Theatre, recorded and preserved for posterity by VPRO in The Netherlands on May 28, 1987.

Bad Brains was first founded in 1976 as a jazz fusion ensemble called Mind Power in the mold of bands such as Chick Corea's Return to Forever and John McLaughlin's Mahavishnu Orchestra as well as RB musician Stevie Wonder. In 1977, their friend Sid McCray introduced the band, who were already interested in bands such as Black Sabbath, to punk rock, including the Dickies, the Dead Boys, and the Sex Pistols. Mind Power became obsessed with punk rock and changed their name to "Bad Brains", after the Ramones song "Bad Brain", but with the word "bad" in the sense of "good". Despite their burgeoning punk sound, the early Bad Brains, after seeing Bob Marley in concert, also delved deep into reggae music and the Rastafari movement. Sid McCray became their first singer but left in the early days of the group's hardcore punk era, and guitarist H.R. became the band's new singer.

The band developed an early reputation in Washington D.C., due in part to the relative novelty of an entirely black band playing punk rock at the time, but also due to their high-energy performances and undeniable talent.

In 1979, Bad Brains found themselves the subject of an unofficial ban among Washington D.C. area clubs and performance venues (later addressed in their song, "Banned in D.C."). The band subsequently relocated to New York City, where they would serve as a catalyst for that city's burgeoning hardcore scene. At first, the Brains stayed with their NYC friends in the bands The Mad and The Stimulators.

Their self-titled debut album was released on Neil Cooper's ROIR on "cassette only" on February 5, 1982, followed in 1983 by Rock for Light, produced by Ric Ocasek of The Cars.

In 1986, Bad Brains signed with SST Records and released I Against I, which, in addition to their hardcore punk and reggae sounds, introduced a heavy metal/funk hybrid sound. H.R. provided the vocals for "Sacred Love" over the phone from the Lorton Reformatory while doing a bid for a cannabis charge. Also critically praised was H.R.'s performance: Rick Anderson wrote on AllMusic that, "(HR) digs deep into his bag of voices and pulls them all out, one by one: the frightening nasal falsetto that was his signature in the band's hardcore days, an almost bel canto baritone, and a declamatory speed-rap chatter that spews lyrics with the mechanical precision of a machine gun". The title track's video was shown on MTV's then-new 120 Minutes program, for which the band appeared in promotional footage.

Despite the success of I Against I, H.R. quit the band again, taking his brother Earl with him after spending most of 1987 touring. 1988 dates for the I Against I tour were done with Taj Singleton on vocals and Mackie Jayson on drums. In 1988, Bad Brains signed with Caroline Records, who released their fourth album Quickness the following year. Since vocalist H.R. and his brother, drummer Earl Hudson were unavailable for the recording sessions, Quickness was originally recorded with Taj Singleton on vocals and Mackie Jayson on drums but before Quickness was ready for mastering, H.R. returned, rewrote the lyrics and overdubbed the vocals for Quickness replacing Taj Singleton's recorded lyrics and vocals.

Despite several fits and starts, Bad Brains are still with us, 40 years after getting started. Health issues along the way and rumors of a new album - to get an idea of what they were up to in 1987, hit the play button and crank this one up!

Happy Monday - fingers crossed for the rest of the week.

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The Clash - Live At The Palladium, New York - 1979 - Past Daily Soundbooth The Clash - live at the Palladium - Showing New York how it's done.



The Clash - Live At The Palladium - September 21, 1979 - Radio Broadcast - Gordon Skene Sound Collection -




The Clash to end the week. The legendary New York Palladium concert, the one in which the cover photo for London Calling was taken. Yeah, that one. Remember?

London Calling was met with widespread critical acclaim. Reviewing the album for The New York Times in 1980, John Rockwell said it finally validates the acclaim received by the Clash up to that point because of how their serious political themes and vital playing were retained in innovative music with a broad appeal. "This is an album that captures all the Clash's primal energy, combines it with a brilliant production job by Guy Stevens and reveals depths of invention and creativity barely suggested by the band's previous work", Rockwell said. Charles Shaar Murray wrote in NME that it was the first record to be on-par with the band's hype, while Melody Maker critic James Truman said the Clash had "discovered themselves" by embracing American music styles. Rolling Stone magazine's Tom Carson claimed the music celebrates "the romance of rock roll rebellion", adding that it is vast, engaging, and enduring enough to leave listeners "not just exhilarated but exalted and triumphantly alive". In a five-star review, Down Beat journalist Michael Goldberg said the Clash had produced "a classic rock album which, literally, defines the state of rock and roll and against which the very best of will have to be judged."

Some reviewers expressed reservations. DJ and critic Charlie Gillett believed some of the songs sounded like poor imitations of Bob Dylan backed by a horn section. Garry Bushell was more critical in his review for Sounds, giving the record two out of five stars while claiming the Clash had "retrogressed" to Rolling Stones-style "outlaw imagery" and "tired old rock clichés".

At the end of 1980, London Calling was voted the best album of the year in the Pazz Jop, an annual poll of American critics published by The Village Voice. Robert Christgau, the poll's creator and supervisor, also named it 1980's best record in an accompanying essay and said, "it generated an urgency and vitality and ambition which overwhelmed the pessimism of its leftist world-view."

In case you missed it - or were there and never thought you'd hear it again - here is that Palladium gig, as it happened on September 21, 1979.

Crank it up.



(Editors note: As was graciously pointed out to me - I had the wrong Palladium in my head when I initially wrote and posted this - and not being one to perpetuate Urban Myths, added the correction; this is The Palladium in New York, not the Hollywood Palladium - sorry for the bonehead mistake, but it's the reason I rely on readers like you to point those things out. We're here for the facts, not the fancies.)

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The Futureheads - In Session - 2010 - Past Daily Soundbooth The Futureheads - Back together and with a new album coming out at the end of August.




The Futureheads - in session at XFM -July 21, 2010 - Gordon Skene Sound Collection - The Futureheads in session at XFM on July 21, 2010, to get you ready for the coming week.

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The Futureheads are an English post-punk band from Sunderland, consisting of Ross Millard (vocals and guitar), Barry Hyde (vocals and guitar), David "Jaff" Craig (bass guitar) and Dave Hyde (drums). Their name comes from the title of The Flaming Lips album Hit to Death in the Future Head. The band's influences include new wave and post-punk bands such as Gang of Four, Devo, XTC, Wire and Fugazi.

The Futureheads played their first gig at Ashbrooke Cricket and Rugby Club in December 2000. They debuted with their "Nul Book Standard" EP and then their "123 Nul EP" on 10 March 2003, and later that year released their first single, "First Day", on 4 August. "First Day" peaked at No. 58 in the UK Singles Chart in August 2003.

The Futureheads released their self-titled debut album in September 2004 on 679 recordings. Five tracks of the tracks were produced by Andy Gill of Gang of Four. The rest of the album was produced by Paul Epworth. The song "Decent Days and Nights" from the album was featured in the video game soundtrack to Burnout 3 on PlayStation 2 and Xbox as well as EA's Rugby 2005.

On 21 February 2005, "Hounds of Love", a cover of a Kate Bush song, was released as a single. It reached number eight in the UK Singles Chart in its first week, and was named Best Single of 2005 by NME. The band toured the United States and later supported the Pixies, Foo Fighters and Snow Patrol.

They performed at BBC Radio One's One Big Weekend, held in their home town of Sunderland over the weekend of 7–8 May 2005. On 8 May 2005 Sunderland A.F.C. picked up the Championship trophy. In tribute, the Futureheads performed a set live at the Stadium of Light as pre-match entertainment.

The Futureheads released their fifth full-length album, Rant, on 2 April 2012. In a change from their usual style, this album is entirely a cappella. The songs on the album are all covers consisting of classic Futureheads songs and traditional folk songs with a couple of others thrown in. Rant was nominated for the Artrocker Album of the Year award in 2012.

In a 2015 interview on BBC Radio 6 Music, Dave Hyde said that The Futureheads are no longer a working band, with both his brother Barry and Jaff teaching; Barry Hyde was also working on a "piano based" solo album. However, the band got together to record a health awareness video using their song Heartbeat Song for BUPA which was released in April 2016.

In January 2019, the band announced they had reformed, had written and recorded new material during 2018, and their first tour dates since 2013. On June 5th, they released "Jekyll", the lead single from their first album in seven years, Powers, to release on August 30th.

To get you up to speed, check out this session they did for XFM in 2010.

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Joe Jackson - In Concert - 1980 - Past Daily Soundbooth Joe Jackson - Four decades and still going strong.




Joe Jackson - In Concert - February 9, 1980 - BBC Radio 1 In Concert Series -

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Joe Jackson to start off the week. He's gone through so many changes during his four decades (and still going strong) that it's hard to keep track at times. Suffice to say, the concert tonight - via the BBC Radio 1 series In Concert, features Jackson during that "2nd British Invasion" period of 1980, the period that saw a flood of acts from the UK dominate the charts on American radio and record sales. And Joe Jackson was responsible for a healthy contribution to that flood, with a string of memorable singles and two highly respected and massively selling albums to boot.

This concert comes around the time of Jackson's second album I'm The Man. The album was quickly recorded to follow-up Jackson's successful debut album Look Sharp!. Since then, the album has been described by Jackson as "Part Two of Look Sharp!".

Born in Burton upon Trent, Staffordshire, David Jackson spent his first year in nearby Swadlincote, Derbyshire. He grew up in the Paulsgrove area of Portsmouth, where he attended the Portsmouth Technical High School. Jackson's parents moved to nearby Gosport when he was a teenager. Jackson learned to play the violin but soon switched to piano and prevailed on his father to install one in the hall of their Paulsgrove council house. Jackson began playing piano in bars at the age of 16, and he also won a scholarship to study musical composition at London's Royal Academy of Music.

Jackson's first band, formed in Gosport, was called Edward Bear, later renamed Arms and Legs. The band broke up in 1976 after two unsuccessful singles. He was still known as David Jackson when he joined Arms and Legs, but around this time he picked up the nickname "Joe," based on his perceived resemblance to the puppet character Joe Piano, who was Snoopy in Joe Cool guise playing piano. Jackson then spent some time performing on the cabaret circuit to make money to record a demo.

In 1978, a record producer heard Jackson's demo tape and signed him to A Records. The next year the newly formed Joe Jackson Band released their debut album Look Sharp! A mix of rock, melodic jazz, and new wave, it mined a vein similar to that of contemporaries Elvis Costello and Graham Parker. The album enjoyed wide critical success: in 2013 Rolling Stone magazine named Look Sharp! number 98 in a list of the 100 best debut albums of all time. Some commercial success also followed, as the debut single "Is She Really Going Out with Him?" reached the top 40 in 5 countries, and no. 9 in Canada.

The Joe Jackson Band released I'm the Man in 1979. The album followed a similar musical pattern, and received good, though not as strong, reviews. It did produce the single "It's Different for Girls", which became Jackson's highest charting UK single, peaking at no. 5. Beat Crazy followed in 1980. Jackson also collaborated with Lincoln Thompson in reggae crossover.

Hit the play button and crank it up. Get ready for another roller-coaster week.
Dislocation Dance - In Session 1981 - Past Daily Soundbooth Dislocation Dance - Casually referred to as "Forgotten Pioneers"



Dislocation Dance - in session for John Peel - Recorded August 5, 1981 -broadcast August 11 - BBC Radio 1 -

(We could use a little love, right about now):




Dislocation Dance to start off the week. Referred to by some as one of the Forgotten Pioneers in the genre of Post-Punk, the original incarnation got started in 1978 and disbanded in 1986 - they regrouped in 2009 and are still in business.

Dislocation Dance are from Manchester, England. Their original line-up is obscure; their first EP, a self-titled 7" as a co-release between two labels, Delicate Issues and New Hormones recorded in May 1980, lists its line-up as 'B' on vocals and keyboard; 'Don' on drums; 'Ian' on vocals and guitar, and 'Paul' on bass, but also mentions 'Past members of the band' as Rod Bloor, Kathryn Way, Tim Glasser, Ian Rogers (drummer, who subsequently joined Blue Orchids) and Julie Gask.

The group proper formed in 1978 and included chief songwriter Ian Runacres (vocals, guitar), Andy Diagram (trumpet, vocals, also of The Diagram Brothers), Paul Emmerson (bass), and Richard Harrison (drums). The Slip That Disc 12" EP featured a much more confident and tight sound, as well as a cover of The Beatles' "We Can Work It Out". Both this release and the group's debut album Music Music Music (1981) featured the Runacres, Diagram, Emmerson and Harrison line-up. New Hormones also issued a string of poppy singles by the band, including Show Me, Rosemary and You'll Never Know, before the pioneering label closed due to lack of funds.

In 1982 Dislocation Dance signed to Rough Trade. 1984's Midnight Shift album saw Kathryn Way rejoin as vocalist and the band explore a more jazzy pop sound. A final EP, "What's Going On", saw the replacement of Way by Sonja Clegg with Herbie Bryan joining on saxophone. The band called it a day in 1986, with Clegg going solo, releasing an album in 1987, and Diagram taking his trumpet to pop success with James.

To get an idea what the band sounded like during their formative period, here is their first of two sessions for John Peel, broadcast on August 11, 1981.

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The Drones In Session - 1977 - Past Daily Soundbooth The Drones - Bonafide Three-chord wonders. Will the wonders of 1977 ever cease?




The Drones - In session for John Peel - December 6, 1977 - BBC Radio 1 -


The Drones to start the new week (or end the old one, depending on how you look at it). In their first and only session for John Peel at BBC Radio 1, recorded on December 6, 1977 and broadcast on December 13th.

Formed in Manchester in 1975, The Drones started out as a pub rock outfit called Rockslide and released a single called "Roller Coaster". When this failed to make an impact, they reinvented themselves as a punk rock band.

In 1976, The Drones made their debut at the Houldsworth Hall, Manchester with Generation X as support.

Most bands in the thriving Manchester punk scene stayed in the city, but The Drones relocated to London. They became one of the pioneering punk bands that performed in the first few months of the now-legendary Roxy Club. They supported The Vibrators in January 1977, headlined in February, and supported X-Ray Spex and Chelsea in March. Later that year they supported The Stranglers on tour. The band appeared on two influential early punk compilation albums Streets and Short Circuit: Live at the Electric Circus.

The band's debut EP, Temptations Of A White Collar Worker (1977), was described by one reviewer as "classic dole-queue punk." In October 1977, the Drones’ second single, "Bone Idol", was released. In December 1977, they recorded a session at Maida Vale 4 studio for John Peel at BBC Radio 1. The track listing was "Be My Baby", "The Change", "Clique", and "Movement". That same month they released their debut album, Further Temptations, which has come to be regarded as a punk classic.

Fans would have to wait until May 1999 for the follow-up album, Sorted. The band reformed and toured to promote the record; including concert dates in the United States.

In 2001 "Bone Idol" was included in Mojo magazine’s list of the best punk rock singles of all time.

Lead singer and guitarist M.J. Drone (aka Michael Howells) died on 10 January 2013.

In 2015, The Drones re-formed with original members Steve 'Wispa' Cundall, Gary 'Gus' Callendar and new members Martin Smith and Glenn Jones .

In 2016, the new Drones line up will be playing festival and other dates and recording a live album as well as new material.

January 2017 saw the line up change again, as Gus, Glenn & Martin are replaced by Brian Grantham (ex Slaughter & the Dogs) on drums, and Al Crosby (Ed Banger & the Nosebleeds) on lead guitar.

The new line up have released a new E.P. "Will you stand in front of bullets?" on their own Idle Records label. 5 brand new songs, and a reworking of "Hard On Me" from the very 1st "Temptations E.P. The 1st print run was available at the Rebellion Punk Festival at the beginning of August, and promptly sold out. A 2nd run was printed, and the E.P. was officially launched in Manchester on 15th September 2018.

A reminder if you remember them the first time - a refresher course if you're a new fan and an introduction if you've never heard them before.

Hit the Play button and give a listen.
The Ramones - Live At Old Waldorf - 1978 - Past Daily Soundbooth The Ramones - leaders of the new scene that was increasingly being referred to as "punk".




The Ramones - Live At Old Waldorf, San Francisco - January 31, 1978 - KSAN-FM - Gordon Skene Sound Collection -


The Ramones, live at Old Waldorf in San Francisco and recorded (miraculously) by KSAN-FM on January 31, 1978.

A few words via Wikipedia to get those you not familiar up to speed:


The Ramones were an American punk rock band that formed in the New York City neighborhood of Forest Hills, Queens, in 1974. They are often cited as the first true punk rock group. Despite achieving only limited commercial success initially, the band was highly influential in the United States and the United Kingdom.





All of the band members adopted pseudonyms ending with the surname "Ramone", although none of them were biologically related. They performed 2,263 concerts, touring virtually nonstop for 22 years. In 1996, after a tour with the Lollapalooza music festival, the band played a farewell concert and disbanded. By 2014, all four of the band's original members had died – lead singer Joey Ramone (1951–2001), bass guitarist Dee Dee Ramone (1951–2002), guitarist Johnny Ramone (1948–2004) and drummer Tommy Ramone (1949–2014).

Recognition of the band's importance built over the years, and are now mentioned in many assessments of all-time great rock music, such as number 26 in the Rolling Stone magazine list of the "100 Greatest Artists of All Time" and number 17 in VH1's "100 Greatest Artists of Hard Rock". In 2002, the Ramones were ranked the second-greatest band of all time by Spin magazine, trailing only the Beatles. On March 18, 2002, the original four members and Tommy's replacement on drums, Marky Ramone, were inducted into the Rock and Roll Hall of Fame on their first year of eligibility, though Joey had died by then. In 2011, the group was awarded a Grammy Lifetime Achievement Award.

he Ramones's loud, fast, straightforward musical style was influenced by pop music that the band members grew up listening to in the 1950s and 1960s, including classic rock groups such as the Beach Boys, the Who, the Beatles, the Kinks, Led Zeppelin, the Rolling Stones and Creedence Clearwater Revival; bubblegum acts like the 1910 Fruitgum Company and Ohio Express; and girl groups such as the Ronettes and the Shangri-Las. They also drew on the harder rock sound of the MC5, Black Sabbath, the Stooges and the New York Dolls, now known as seminal protopunk bands. The Ramones' style was in part a reaction against the heavily produced, often bombastic music that dominated the pop charts in the 1970s. "We decided to start our own group because we were bored with everything we heard," Joey once explained. "In 1974 everything was tenth-generation Elton John, or overproduced, or just junk. Everything was long jams, long guitar solos ... . We missed music like it used to be."  Ira Robbins and Scott Isler of Trouser Press describe the result:

With just four chords and one manic tempo, New York's Ramones blasted open the clogged arteries of mid-'70s rock, reanimating the music. Their genius was to recapture the short/simple aesthetic from which pop had strayed, adding a caustic sense of trash-culture humor and minimalist rhythm guitar sound.

As leaders in the punk rock scene, the Ramones' music has usually been identified with that label, while some have categorized their style as pop punk or power pop. In the 1980s, the band sometimes veered into hardcore punk territory, as can be heard on Too Tough to Die.

On stage, the band adopted a focused approach directly intended to increase the audience's concert experience. Johnny's instructions to C.J. when preparing for his first live performances with the group were to play facing the audience, to stand with the bass slung low between spread legs, and to walk forward to the front of stage at the same time as he did. Johnny was not a fan of guitarists who performed facing their drummer, amplifier, or other band members.


Nothing left to do but crank this one up and forget the week.
The Nightingales In Session - 1982 - Past Daily Soundbooth The Nightingales - formerly The Prefects - got back together after an almost 20 year hiatus.



The Nightingales - in session for John Peel - Recorded June 30, 1982 - broadcast July 28 - BBC Radio 1 -

The Nightingales in session to start the week. Recorded for John Peel at BBC Radio 1 on June 30, 1982 and broadcast on July 28th of that year.

Nightingales (a.k.a. The Nightingales) are a UK post-punk/alternative rock band formed in 1979 in Birmingham, England by four members of Birmingham's original punk group The Prefects who had been part of The Clash's 'White Riot Tour', recorded a couple of Peel Sessions, released a 45 on Rough Trade and, years after splitting up, had a retrospective CD released by New York indie label Acute Records.

Described in John Robb's definitive book on 'post punk' Death To Trad Rock as "The misfits' misfits" and comprising an ever-fluctuating line up, based around lyricist/singer Robert Lloyd, the Nightingales enjoyed cult status in the early '80s as darlings of the credible music scene and were championed by John Peel, who said of them – "Their performances will serve to confirm their excellence when we are far enough distanced from the 1980s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans".

The original members were Robert Lloyd on vocals, Eamonn Duffy on bass and Paul Apperley on drums, all formerly of The Prefects. The band, before splitting up, played more sessions on John Peel's BBC Radio 1 show than any other band excluding The Fall and Half Man Half Biscuit.

In the late Eighties the Nightingales stopped working but, following the occasional gig between times, they re-grouped in 2004, with Lloyd being joined by original Prefects guitarist Alan Apperley.

The current line up features Robert Lloyd, James Smith, Andreas Schmid on bass and ex-Violet Violet drummer Fliss Kitson.

Since restarting the group have been more productive than ever – releasing five 7" vinyl singles, a 10" EP and six studio albums (plus two live albums), touring England, mainland Europe and USA numerous times, recording many radio sessions along the way. They have been invited to play various festivals in Europe and the States, including Glastonbury and SXSW. Their "Let's Think About Living" 45 was 'Single of the Week' on BBC 6 and they have continued to receive regular rave reviews for their records and live shows.

For a reminder of their first incarnation - here is their second session for John Peel from June/July 1982.
Subway Sect In Session - 1977 - Past Daily Soundbooth Subway Sect - One of the first Punk bands to emerge in 1976. (photo: Barry Plummer)




Subway Sect - in session for John Peel - recorded October 17, 1977 - broadcast October 24. BBC Radio 1 -

Subway Sect to end the week - Their first session for John Peel, recorded on October 17, 1977 and first broadcast on October 24th of that year.

Subway Sect were one of the first British punk bands. Although their commercial success was limited by the small amount of recorded material they released, they have been credited as highly influential on the Postcard Records scene and the indie pop genre which followed.
The core of the band was singer-songwriter, Vic Godard, plus assorted soul fans, who congregated around early gigs by the Sex Pistols until Malcolm McLaren suggested they form their own band. Subway Sect were among the performers at the 100 Club Punk Festival on Monday, 21 September 1976 - sharing the bill with Siouxsie and the Banshees, The Clash and the Sex Pistols. The first line-up of Godard on vocals, Paul Packham on drums, Paul Myers on bass and Rob Symmons on guitar lasted for 4 gigs before Mark Laff replaced Packham. Laff himself would leave for fellow punk group Generation X after the White Riot tour. A third drummer, Bob Ward, was recruited, and it is this line-up that can be heard on the band's first John Peel session and also on the single "Nobody's Scared". This was the first and only release on Braik Records, a label owned by Bernie Rhodes, who managed both Subway Sect and The Clash. Rhodes subsequently supervised the recording of their debut album at Gooseberry Studios in London, with Clash sound man and producer Mickey Foote at the production helm. At that time the band toured intensively with The Clash and others.

However, just as their first album was ready for release, for reasons that remain obscure, Rhodes sacked all the band (except Godard) and Subway Sect mark 1 ceased to exist. The album was never released, although a single from the sessions "Ambition" was remixed and released on Rough Trade Records, with the B-side "Different Story (Rock and Roll Even)" also taken from the same sessions. "Ambition" was ranked at No. 15 among the top "Tracks of the Year" for 1978 by NME. A further track "Parallel Lines" was released as a track on the C81 cassette produced by NME magazine. Since then, some monitor copies of tracks from the lost album have come to light on various Subway Sect compilations, including a Motion Records' 20 Odd Years double album anthology, and a CD and CD/EP set We Oppose All Rock And Roll on Overground Records. Any copies of the actual album tapes appear to no longer exist.

As a result of 1977 appearances at The Roxy club in London, live recordings were made of Subway Sect performances by Don Letts, the club's disc jockey. Subway Sect appears in Letts' Punk Rock Movie (1978).

In 2007, a new Subway Sect (featuring on some recordings original members Mark Laff and Paul Myers, as well as former Sex Pistols drummer Paul Cook) released 1978 Now, a re-make of the original 1978 album as, Godard indicated, it had originally sounded. In 2011, Myers rejoined Vic Godard and Subway Sect permanently; his first official gig back was at Nambucca in London on 28 October 2011. Further vintage material was recorded in 2012 – again with Paul Cook on drums – and released in 2014 as 1979 Now.

To jog your memory, here's their first session for John Peel, which you are enthusiastically encouraged to play loud.
Mo-Dettes In Session - 1981 - Past Daily Soundbooth Mo-Dettes - post-Indie all-girl supergroup.





Mo-Dettes - in session for John Peel - recorded July 1, 1981 - broadcast July 21st - BBC Radio 1 -

Mo-Dettes for the middle of the week. Considered by several to be a UK version of The Go-Go's, many also considered them the first post-Indie All-girl Supergroup to grace the early 1980.

For the uninitiated, their bio via The Great Rock Bible:

The MO-DETTES started well enough at the turn of the 80s, but fizzled out soon afterwards, leaving behind a promising and unfulfilled time on the fringes. If they’d another track like debut 45, `White Mice’, the quirky quartet just might’ve caught the imagination of a public weighed down by similar acts such as DELTA 5, AU PAIRS, LiLiPUT and The RAINCOATS.
The fact that American-born guitarist Kate Corris had played a part in the early stages of the latter act (a free transfer from The SLITS), it gave them a claim-to-fame injection, while her buddies from The Bomberettes: stunning Swiss-born frontwoman Ramona Carlier (ex-KLEENEX; as Regula Sing), bassist Jane Crockford (ex-Bank Of Dresden) and drummer June Miles-Kingston (sister of TENPOLE TUDOR’s Bob Kingston), could well’ve been London’s answer to The GO-GO’S.
Formed in 1979, the girls traded in a spiky new wave sound despite their moniker and the (then) current mod revival. They debuted later the same year with the self-financed/Rough Trade-distributed `White Mice’ single – surely a classic one-that-got-away despite airplay from John Peel. Carlier’s Euro-centric pronunciation and “hiccupping” vocal style was reminiscent of LENE LOVICH or Fay Fife (The REZILLOS), while the backing harmonies and handclaps added a retro, B-52s touch to proceedings.
Signed to a revitalised Deram Records, maybe a rookie rendition The ROLLING STONES’ `Paint It Black’ was an ambitious beginning, but it did give them a limited taste of Top 50 success in July 1980, now that they were no longer an indie act. Note that a version of the Bert Russell & Phil Medley nugget, `Twist And Shout’, was available as a free 7-inch flexi. Previewing their debut album, third bad-ass single `Dark Park Creeping’ was possibly too brooding and menacing to achieve daytime airplay. With no sign of `White Mice’ on board the chapter-and-verse, THE STORY SO FAR (1980) {*6} set (`White Mice Disco’ was hardly compensation!), only really `Masochistic Opposite’ (their debut’s flip-side), `Fandango’, `Norman (He’s No Rebel)’ and Georges Moustaki’s `Mi’Lord’, had any clout among the fickle indie in-crowd. The album failed to generate the anticipated interest, and several months were wasted in coming up with a sophisticated pop style to complement their very minor-hit take of LEE HAZLEWOOD’s `Tonight’.
Jane was now married to Daniel Woodgate (of MADNESS) in 1980 – they divorced in the mid-90s – and the availability of the MO-DETTES was straining the chord-ends. Dropped by Deram and hoping to cash-in on the indie-pop market with a lounge-y live reading of `Kray Twins’ (from the LP) – backed by `White Mice’ from ’79 – a period of upheaval saw both Corris and Carlier departing for pastures new later in 1981.
Despite the recruitment of respective replacements, guitarist Melissa Ritter and singer Sue Slack (in May ’82), the MO-DETTES came to a halt soon afterwards amid yet more internal strife.

This session for John Peel would be the last the band did. It was recorded on July 11, 1981 and broadcast on the 27th.

Crank it up and enjoy.
Penetration In Session - 1979 - Past Daily Soundbooth The inimitable Pauline Murray - invited comparisons to Patti Smith and Siouxsie Sue - not bad company, if you ask me.



Penetration - In Session for John Peel - Recorded February 28, 1979 - Broadcast March 7th - BBC Radio 1 -

Penetration featuring the inimitable Pauline Murray from a session recorded for John Peel on February 28, 1979 and broadcast on March 7th.

Formed in Ferryhill as The Points under which name they played their first gig at the Rock Garden pub in Middlesbrough in October 1976, they changed the band's name after a 1973 song by Iggy The Stooges. Their second gig was supporting The Stranglers at Newcastle City Hall. Significantly, the band also played at the now-legendary punk club The Roxy during its first 100 days. On 9 April 1977, the band appeared on the same bill as Generation X. Early in their career, the band also supported The Vibrators and toured with the Buzzcocks.

After the release of their second single, Penetration recorded the first of two sessions for John Peel at BBC Radio 1 in July 1978. Later that year, the band released their debut album. Moving Targets was number 6 in the Sounds Critics' albums of the year; and it made number 13 in the NME critics' chart.

In 1979, they toured Europe, the US and Britain but the grueling schedule began to take its toll. A disappointing reaction to Coming Up For Air, the second album, was the final nail in the coffin of the original band. After the band split in October an official bootleg album called Race Against Time was released, which was a collection of early demos and live tracks.

They re-formed in 2001 with several new members.

Their debut single, "Don't Dictate", is now acknowledged as a classic punk rock single and their debut album, Moving Targets (1978), is still widely admired.

For a reminder of what they were all about in 1979, just months before splitting up - here is their 2nd (and last) session for John Peel at BBC Radio 1.

Play loud.
Stiff Little Fingers In Session - 1978 - Past Daily Soundbooth Stiff Little Fingers - after breaking up - getting back together and ten albums later . . .



Stiff Little Fingers - In session for John Peel - recorded September 12, 1978 - broadcast September 18 - BBC Radio 1 -

Stiff Little Fingers tonight - their second session for John Peel - recorded September 12, 1978 and broadcast on September 18th.

Prior to becoming Stiff Little Fingers, Jake Burns, vocals and guitar, Henry Cluney, guitar, Gordon Blair, bass, and Brian Faloon, drums, were playing in a rock music cover band, Highway Star, in Belfast. Upon the departure of Gordon Blair (who went on to play with another Belfast group, Rudi), Ali McMordie took over on bass. Cluney had by this time discovered punk, and introduced the rest of the band to it. They decided that Highway Star wasn't a punk enough name, and after a brief flirtation with the name "The Fast", decided to call themselves Stiff Little Fingers, after the Vibrators song of the same name.

It was while doing a gig at the Glenmachan Hotel that they first met Gordon Ogilvie, who had been invited along for the evening by Colin McClelland, a journalist who Burns had been corresponding with.

Ogilvie suggested they play material based upon their experience of the Troubles. McClelland arranged to get the band some recording time at a local radio station, and in the studio normally used to record jingles, they recorded "Suspect Device". The single was packaged in the form of a cassette, with a cover depicting a cassette bomb, apparently causing great hilarity in the group, when one record company phoned them and asked for another copy, as they'd thrown the first one in a bucket of water for fear that it was a real bomb.

A copy of the single was sent to John Peel. He played it repeatedly leading to a distribution deal through Rough Trade. The single was released on the band's own Rigid Digits label and sold over 30,000 copies. Peel later did the same with the first single by another famous Northern Irish band, The Undertones. There were a number of well-publicized arguments between the two bands; the Undertones accused Stiff Little Fingers of sensationalizing the Northern Ireland conflict, while they retorted that The Undertones ignored it.

Their second single, "Alternative Ulster", was originally intended to be given away free with the fanzine of the same name.

In the second half of 1978, they toured with the Tom Robinson Band, and in 1979, they released their first album on the Rough Trade Label, Inflammable Material. The band signed a contract with Island Records, but it fell through, leaving the band to release the album on their existing label. Despite the album's independent release, it reached number 14 in the UK Albums Chart and reached Silver status, selling over 100,000 copies. Inflammable Material was the first album distributed by Rough Trade records, and the first independent album to chart in the UK.

This inspired their move to London, which led to the departure of Brian Faloon and Colin McClelland (who along with Gordon Ogilvie had been joint manager of the band up until that point).

Jim Reilly became their drummer in time for the "Gotta Gettaway" single, and played in the Rock Against Racism tour.

And as a reminder of that watershed year, here is their second session for John Peel, from September 1978.

Crank it up and enjoy.
The Avengers In Concert - 1979 - Past Daily Soundbooth The Avengers - West Cost Punk answered the call. (Photo: Marcus Leatherdale)





The Avengers - In Concert at Old Waldorf, San Francisco - June 13, 1979 - KALX-FM broadcast -

The Avengers pointing us in the direction of the weekend.

In case you missed them - The Avengers were an American punk rock band formed in 1977 in San Francisco, California. The band recorded an EP, We Are the One (1977), and after opening for the Sex Pistols worked with Steve Jones, but hadn't released a full-length album before breaking up in 1979. After the breakup an EP with the Steve Jones-produced songs was released (The Avengers), and later an album, Avengers, in 1983. Their lead singer, Penelope Houston, is also a folk singer who has a solo career. Since 1999 a number of other albums were released with studio and live tracks, and the band has come together for various occasions.

Drummer Danny Furious (Danny O'Brien) and guitarist Greg Ingraham decided to start a band, and Furious approached Penelope Houston to be their singer, who agreed. They finished their lineup with Jonathon Postal on bass, although he was replaced shortly after by Jimmy Wilsey. Their first release (and only release while the band was originally together) was We Are the One, a three-song EP which was released on Dangerhouse Records in 1977.

The Avengers opened for the Sex Pistols in San Francisco at their final show at Winterland, which led to Sex Pistols guitarist Steve Jones producing a recording session for the band. In January 1979, Ingraham left the band and was replaced by Brad Kent, although the band only lasted a few more months until June 1979. An EP, titled Avengers, was released on White Noise Records a few months after the band broke up, which included songs from the Steve Jones produced session. Houston went on to record as a solo artist.

An album called Avengers (sometimes referred to as the Pink Album, including by Houston herself) was released in 1983. It featured tracks recorded through the band's whole time together, and was compiled by drummer Danny Furious. The album was out-of-print for a long time due to being in "legal limbo", during which time Houston would sell the album in CD-R format directly through her website. The album was re-released in 2010.

On July 16, 2006, Houston and Ingraham joined Pearl Jam to perform "American in Me" at the Bill Graham Civic Center. By January 2017, they were recording in Berkeley with Robert Shimp.

To get a better idea of what they sounded like just prior to their breakup, this Old Waldorf gig should fill the bill. Recorded and broadcast live over KALX-FM, the UC Berkeley radio station. Loud, frantic and out of control.

Just the way it was intended to be.
Gang Of Four In Concert - 2019 - Past Daily Soundbooth: Festival Edition Gang Of Four (well . . .3/4 of The Gang Of Four) - groundbreaking, frustrating, reaffirming and bitter - no easy band, that. (photo: Leo Cackett).




Gang Of Four - Live At BBC 6 Music Festival, Liverpool - March 31, 2019 - BBC 6 Music -


Gang Of Four on the last night of the BBC 6 Music Festival in Liverpool - recorded live by BBC 6 Music on March 31, 2019.

From a recent article in Japan Times by Shaun Curran:
Formed in 1977 at a time of huge political and social upheaval in the U.K., Gang of Four took advantage of punk’s corrosion of the rules to forge a new idealized path. Everything about Gang of Four was intense and razor sharp, from the music, which used Gill’s innovative jagged guitar to create a streamlined punk sound that incorporated funk and dub, to its radical principles. School friends and former art students at Leeds University, Gill and King were post-punk’s intelligentsia, filling their interviews with Marxist and communist theory, while their songs examined the relationship between the personal and the profitable (“Damaged Goods,” arguably their best track, talks of love as a product to be traded). The 2011 album, “Content,” the band’s last with King, was packaged with samples of their own blood.

The impact of Gang of Four’s initial heyday (1977-84) far outweighs its actual success: Everyone from R.E.M. to St. Vincent has talked up the band’s influence; Frank Ocean sampled Gang of Four on his last album, “Blonde,” while “Entertainment!” is regularly cited as one of rock’s seminal works, voted as one of Rolling Stone’s best 500 albums of all time.
In January 2011, the band, now featuring Mark Heaney on drums (a band member since 2006 who had toured extensively since Burnhams departure) and Thomas McNeice on bass, released a new album, Content. Andrew Perry, writing in Britain's Telegraph newspaper, gave it (21 January 2011) a 5-star rating and said that it was "their best record since the Seventies", Jon Pareles, awarding the album 4 stars in a New York Times review of 25 January 2011, declared that "have reclaimed, with a vengeance, their old attack", Dan Wilcox of KCRW (17 January 2011) said : "Entertaining, scintillating and dangerous, the band has lost none of its explosive edge over the years." In his Pitchfork review of the album, 26 January 2011 Stuart Berman wrote "If Gang of Four's 2005 reformation proved they could more than hold their own against the upstarts, then Content shows that their chief concerns – the financial and psychological toll of keeping up with the Joneses – resonate all the more loudly in an Internet-accelerated era where even those on the vanguard can feel behind the times, and where the lawless, anonymous nature of online exchange threatens to overwhelm our identities. It's thus fitting that the album's most exuberant moment – the muscular Motown stomp "Who Am I?" – is used to soundtrack a modern-day anarchist's existential crisis: "You can't steal when everything is free". Following successful tours of the US, Australia and Europe in 2011, King and Gill ceased working with each other. Gill produced, under the band name, What Happens Next, which was released in 2015.

On 20 April 2018, the band released an EP entitled Complicit, which featured the Gill Sterry line-up and was produced by Ben Hillier. January 2019 saw the release of Paper Thin, first single from forthcoming new album Happy For Now which should follow in March 2019.

Crank it up and enjoy the show.
Joy Division- Live In Amsterdam - 1980 - Past Daily Soundbooth Joy Division - Keynote group from their time and place. (Photo Kevin Cummins- Getty - online use only).





Joy Division - In concert at Paradiso, Amsterdam - January 11, 1980 -VPRO-Netherlands -

Joy Division in concert from Paradiso in Amsterdam tonight. Recorded live on January 11, 1980 by Netherlands radio network VPRO for broadcast.

The story of Joy Division and their leader singer Ian Curtis are well known - fans know it by heart and anyone who has had even the remotest interest knows what a tragic story it is.

Suffice to say, I'm not going to repeat it, but rather focus on the concert itself and the tour that took place during this time. This is from the Joy Division fan site:
In October 1979, Joy Division were added to Buzzcocks' autumn tour – a total of 27 dates around England, Wales and Scotland. The members of the group quit their jobs and became professional musicians. On the 16th of October, they played a one off date as part of an arts festival at Plan K in Brussels, which also included William Burroughs and Cabaret Voltaire. Michel Isbeque shot most of the set – during which they debuted "Love Will Tear Us Apart" – on video. On the two Manchester Apollo shows on the 27th and 28th of October, Richard Boon videod the group – the basis for the Ikon video release "Here Are The Young Men".

Joy Division released their first stand-alone single, the audience favourite Transmission"
Three weeks later, Joy Division released their first stand-alone single, the audience favourite "Transmission". In December the group performed their second John Peel session, which included "Love Will Tear Us Apart" and "Sound of Music". In the new year, the group set out on a series of European shows: they had already played in Brussels (Plan K) and in Paris (Les Bains Douches on 18 December 1979, released on CD in 2001), but this was their first foreign tour, taking in ten dates in Holland (this concert is from that tour), Belgium and Germany. Four songs from the Effenar, Eindhoven date were filmed in Super 8, and were included in "Here Are The Young Men".

Joy Division kept on recording during this period: in October and November, they had recorded two songs for the stand-alone Sordide Sentimental "Licht und Blindheit" release – two of their best loved songs, "Atmosphere" and "Dead Souls" – and in January they made their first attempt at what was already thought of as their sure-fire hit, "Love Will Tear Us Apart", at Pennine Studios in Oldham. This session also saw the completion of live favourites "These Days" and "Sound of Music". The group were not convinced about this first version and rerecorded the song at Strawberry Studios in March 1980.

After two successful London shows at the University of London Union (released as the bonus disc of the 2007 reissue of"Closer") and at the Lyceum, Joy Division spent two weeks in March recording twelve tracks for their next album. These showcased the group's experimentation with synthesisers and their leanings towards contemporary dance rhythms and instrumentation. During the sessions, Jean Pierre Turmel's Sordide Sentimentale released "Atmosphere" and "Dead Souls" on a limited edition (1578) seven inch with a lavish package, including Turmel's essay 'Licht und Blindheit'.
If you don't already know, I would urge you to visit the Official Joy Division site and get the full story. In the meantime, here is one of the concerts from that 1979-1980 tour of Europe. An excellent one from Amsterdam.
Punishment Of Luxury In Session - 1978 - Past Daily Soundbooth Punishment Of Luxury - or Punilux for short - from fringe theatre to Post-Punk.




Punishment Of Luxury - in session for John Peel - recorded August 22, 1978 - aired August 30 - BBC Radio 1

Punishment of Luxury (or Punilux for short) to end the week. In session for John Peel, their first of two - this one recorded on August 22, 1978 and broadcast on August 30th.

From a background working in left-wing English fringe theatre groups, Punishment Of Luxury were a four-man post-punk band formed in December 1976 in Newcastle. Taking their name from an 1891 painting by Giovanni Segantini in the Walker Art Gallery, Liverpool, the band consisted initially of Brian Bond (born Brian Rapkin - vocals), Neville Luxury (born Neville Atkinson - guitar, vocals), Red Helmet (guitar, vocals), Jimi Giro (bass guitar, vocals), and "Liquid" Les Denham (drums). They released a single, "Puppet Life" on the Small Wonder label in July 1978. In 1979 they signed to United Artists and released the singles "Engine Of Excess" with Mick Avery on drums, then with new drummer Steve Sekrit (born Steven Robson), made "Secrets", and the album Laughing Academy. In the Summer of 1979 they played at the Reading Rock Festival after Bostik Swastika and The Cure and before The Tourists and Motörhead. 1980 saw the release of the single "Laughing Academy". An extensive European tour followed and United Artists sent the band into the studio to record another album, a concept album to be called Gigantic Days. However while the recording was still going on, United Artists were taken over by EMI, who dropped the band. A final European tour was followed by Bond's departure.

Neville, Sekrit and Giro recruited guitarist Tim Magenta to a new lineup, now going by the name Punilux. They released a further album on the Red Rhino label, 7 in 1983, with Magenta replaced by Rab Aitch, before Neville Luxury went solo, releasing the mini-album Feels Like Dancing Wartime in 1984. The album Gigantic Days was finally released, on CD, in 1998 by Overground Records.

I don't think they made it over to the States, so my U.S. pals may not be all that familiar - no excuse not to hit the play button and give a listen, right?
It's 1983 - You're A Teenager - You Live In L.A. - You Have Every Right To Be Cynical - Past Daily Weekend Pop Chronicles "Cheer up!" - "We're all going to die someday."



KROQ - Freddie Snakeskin - July 31, 1983 - Gordon Skene Sound Collection -

Not that 1983 had any special dibs on cynicism and anxiety - it was a pretty cynical decade on its own, you must admit. But if you're going through it for the first time - it's the worst there ever was and there's no hope. Life isn't what you thought it was, what you imagined it was - people are either the absolute best or absolute worst. No in-betweens. You're at the Age Of The Absolutes. We've been there - we've all been there. It happens - it's you growing up. You aren't a kid anymore - you aren't awkward, but you feel uncomfortable and maybe you can't put your finger on it. Free floating anxiety. It's the world and you're stuck in it. But it's not just you - it's all your friends. Problem is - you're not all on the same page at the same time. One day it's you and the world is bleak and everything around you is strange, and you've got this friend who is being a big fucking ball of sunshine and you want to punch her out. Next day it's her and she has uncontrollable weeping and now it's your turn to be the ball of sunshine. And she wants to throttle you.

Lucky for most of you, it doesn't last. But for the moment, you're right in the middle of it and it feels legitimately creepy. The only saving grace for you are Tunes. Your radio - your stereo - your MTV. Music is the glue that holds you together - without it you'd be spiraling out of control. A world without music - no X? No Hall Oates? No Talking Heads? Impossible.

And with your music comes your radio - the go-to place. It's on, somewhere in the background all the time. It's either KLOS, KMET or KROQ - the three absolutes; the three sure things in life.

And how about those gas prices . . . .

For a sample of what 1983 was all about, here is an hour's worth of Freddy Snakeskin on KROQ from July 31, 1983.
Howard Devoto In Session - 1983 - Past Daily Soundbooth Howard Devoto - Being frontman for Buzzcocks would have been enough, but just had to be on the ground floor of Post-Punk with Magazine.




Howard Devoto - in session for John Peel - August 1, 1983 - aired, August 8 - BBC Radio 1 -

Howard Devoto in session for John Peel tonight. To me, one of the pivotal figures in the shaping of Punk into Post-Punk and carving out a unique place somewhere at the front.

I always thought Buzzcocks were a landmark band; one of my favorites. But after getting the band started and cutting one ep, left to forge new vistas with Magazine, another landmark band who have somehow gone overlooked in recent years. I can say with a degree of certainty that I knew exactly where I was when I first heard About The Weather, still one of the great classics of the period, and further evidence music of the 1980s was heading into some interesting directions, and one of the great injustices that it didn't get the exposure it deserved. Don't get me started on artists whose work has been needlessly ignored.

This is Howard Devoto's first and only session for John Peel. Coinciding with the release of his first solo album, Jerky Versions Of The Dream. The album was released in United States on the I.R.S. label, on 26 July 1983.

The first single to be released from the album was "Rainy Season", which was considered by many to be a stand-out track. The song's video was heavily rotated on MTV. On the release of the album it peaked at #57, on the UK album chart. It was eagerly anticipated and widely received by amazing reviews. A subsequent tour in Europe, the United States, and Canada was full of sold out crowds. However, the album's second single, "Cold Imagination", failed to chart as well, and Devoto's solo career was put on hold.

As a reminder - and maybe as an introduction - have a listen to this session and do some exploring if Howard Devoto is new to you. It's worth it.
!Action Pact! In Session - 1982 - Past Daily Soundbooth Action Pact - despite being a little late to the party, nevertheless scored highly on the charts. (photo: Erica Echenberg)



!Action Pact! - in session for John Peel- recorded February 6, 1982 - aired February 22 - BBC Radio 1

Some late period Punk this week, supplied by !Action Pact! from their first of two sessions for John Peel - recorded on February 6, 1982 and aired on February 22nd. Late period, only in the sense that the much of the first wave of Punk had moved on and had either branched into other things (i.e. New Wave) or became Post-Punk. There was still plenty of Punk to go around.

!Action Pact! was from Stanwell in Middlesex, and was also originally named Bad Samaritans. In 1981 they changed their name to !Action Pact!. The John from Dead Mans Shadow (D.M.S.) was Bad Samaritan's original lead singer, and he left to concentrate on D.M.S., before the name change. He was replaced by George Cheex, who got the job because of "her courage to scream along with the band's songs." They contributed two songs to the EP Heathrow Touchdown which was released in October, 1981, while George and Joe were still only 15 years old. "London Bouncers" and "All Purpose Action Footwear", got the attention of BBC Radio 1 DJ John Peel. He played their songs often and he convinced the band to record their first full session, which they did on 22 February 1982. They recorded "People", "Suicide Bag", "Mindless Aggression", "Losers", and "Cowslick Blues". The resulting demo tape caught the attention of the fledgling label Fall Out Records, which signed the band as the first act on its roster. !Action Pact!'s label debut, the Suicide Bag EP, was released in July 1982 and rocketed to the top of the British punk chart.
The band would later be joined by drummer Grimly Fiendish and bassist Thistles, and producer Phil Langham would also moonlight on bass under the name Elvin Pelvin; whereas Kim Igoe, the bassist, continued on as a lyricist. The band split in 1986.

In early 2016, Wild Planet (Des Stanley) died from cancer.

As a memory refresher or introduction, here is their first session for John Peel, as it was originally aired on February 22, 1982.
The Cure - Live In Glasgow - 1984 - Past Daily Soundbooth - RIP: Andy Anderson The Cure - w/Andy Anderson (2nd from right) - Got the right show and the right era this time.



The Cure - Live at The Barrowland Ballroom, Glasgow - August 25, 1984 - Gordon Skene Sound Collection -

The Cure, in concert from The Barrowland Ballroom, Glasgow in 1984 to end the week. Two Cure concerts in one week? Well . . .yeah. Last night I ran a Cure concert from The Head Tour in 1985 as tribute to drummer Andy Anderson who passed away earlier this week after a battle with Cancer. Trouble was, Andy was already out of the band by the time that tour started. And since I did my double checking just as I was getting ready to hit "post" - scrapping it at the last minute and putting up another concert just didn't seem like a good idea at 1 in the morning. So I ran it and promised I would post the correct one tonight. And here it is.

The Top Tour of 1984. Barrowland Ballroom, Glasgow - August 25, 1984. Here's what Wikipedia has to say about it:
In 1984, the Cure released The Top, a generally psychedelic album on which Smith played all the instruments except the drums—played by Andy Anderson—and the saxophone—played by returnee Porl Thompson. The album was a Top 10 hit in the UK, and was their first studio album to break the Billboard 200 in the US, reaching number 180. Melody Maker praised the album as "psychedelia that can't be dated", while pondering, "I've yet to meet anyone who can tell me why the Cure are having hits now of all times." The Cure then embarked on their worldwide Top Tour with Thompson, Anderson and producer-turned-bassist Phil Thornalley on board. Released in late 1984, the Cure's first live album, Concert consisted of performances from this tour. Near the tour's end, Anderson was fired for destroying a hotel room and was replaced by Boris Williams. Thornalley also left because of the stress of touring. However, the bassist slot was not vacant long, for a Cure roadie named Gary Biddles had brokered a reunion between Smith and former bassist Simon Gallup, who had been playing in the band Fools Dance. Soon after reconciling, Smith asked Gallup to rejoin the band. Smith was ecstatic about Gallup's return and declared to Melody Maker, "It's a group again."
So now you get a double dose of The Cure this week - this one is at least the right one featuring Andy Anderson on drums.

On to the weekend!
Bad Religion In Session - 1993 - Past Daily Soundbooth Bad Religion - after numerous personnel changes, still carrying the torch.




Bad Religion - in session for John Peel - Recorded July 24, 1993 - broadcast September 4 - BBC Radio 1 -

Bad Religion tonight. A taste of Los Angeles at the BBC - recorded for John Peel in London on July 24, 1993 and broadcast on BBC Radio 1 on September 4.

Bad Religion formed in L.A. in 1980. The band is noted for their erudite lyrics, which span several philosophical, social and political topics. Musically, they are noted for their melodic sensibilities and extensive use of three-part vocal harmonies. The band has experienced multiple line-up changes, with singer Greg Graffin being the band's only constant member, though fellow founding members Jay Bentley and Brett Gurewitz have since rejoined, and guitarist Brian Baker has performed with the group since 1994. The most recent additions to the band are guitarist Mike Dimkich and drummer Jamie Miller, who joined in 2013 and 2015 respectively. To date, Bad Religion has released sixteen studio albums, two live albums, three compilation albums, three EPs, and two live DVDs. They are considered to be one of the best-selling punk rock acts of all time, having sold over five million albums worldwide.

By the time they were signed to Atlantic Records in 1993, Bad Religion had built an underground following with their early albums, including Suffer (1988), No Control (1989), Against the Grain (1990) and Generator (1992). The band first reached substantial commercial success with their seventh studio album and Atlantic debut Recipe for Hate (1993), which peaked at number 14 on Billboard's Heatseekers chart, and spawned one of their most popular songs "American Jesus". Recipe for Hate was followed a year later by Stranger than Fiction (1994), which spawned their biggest hits "Infected" and the re-recorded version of "21st Century (Digital Boy)", and was certified gold in both the United States and Canada. Shortly before the release of Stranger than Fiction, Gurewitz left Bad Religion to run his label Epitaph on a full-time basis (in response to the success of the label's then-artists the Offspring and Rancid), and was replaced by Brian Baker. Since Gurewitz's return to the band and their split with Atlantic in 2001, they have undergone a resurgence in popularity, with their sixteenth studio album True North (2013) becoming Bad Religion's first album to crack the top 20 on the Billboard 200 chart, where it peaked at number 19. The band is currently working on their seventeenth studio album, which is tentatively due for release in 2019.

Maybe you missed this session or you got a copy of it from a friend and misplaced it. Whatever the reason - crank this one up and enjoy the hell out of it.
Theatre Of Hate In Session - 1981 - Past Daily Soundbooth Theatre Of Hate - Post-Punk with a Goth twist.



Theatre Of Hate - In session for John Peel - Recorded August 15, 1981 - Broadcast August 24 - BBC Radio 1 -

Theatre Of Hate in session to close out the working week. Originally known as The Pack, Theatre Of Hate were a British punk rock band formed in 1978, comprising Kirk Brandon on vocals and guitar, Simon Werner (died 26 November 2010) on guitar, Jonathan Werner on bass, and Rab Fae Beith (later of UK Subs) on drums. Beith was eventually replaced by Jim Walker. The band released two singles in 1979, ""Heathen" and "King of Kings", and the Kirk Brandon The Pack of Lies EP in 1980, before splitting. Their posthumous releases were the Long Live the Past EP (1982); The Pack 1982 live album, recorded in 1979 and released on cassette only on Walker's Donut Records label; and the collection Dead Ronin (2001).

This from their Wikipedia page:
In 1980, the Pack ended and Theatre of Hate were formed, with Luke Rendle on drums, Stan Stammers joining on bass, Steve Guthrie on guitar and John "Boy" Lennard on sax (the Werner brothers joined the Straps, who Stammers had previously played for). Inspired by Antonin Artaud's book Theatre and its Double. The band took its name from the concept of the Theatre of Cruelty: "Artaud called for the emotional involvement of the audience. Singer Brandon borrowed the thespian term because he was trying to do the same." The first Theatre of Hate release was the "Original Sin" single in November 1980, which reached No. 5 on the UK Indie Chart. It was followed by "Rebel Without a Brain" in April 1981, and "Nero" in July. They garnered much early attention as a live act and made their full-length debut in 1981 with the live album He Who Dares Wins (Live at the Warehouse Leeds), released on vinyl on their own Burning Rome label. Guthrie left the band shortly after the album's release. Another live recording followed, Live at the Lyceum, issued on cassette, also in 1981.

In August 1981, Theatre of Hate entered the studio with producer Mick Jones of the Clash to record their first non-live album, Westworld, released on 19 February 1982 by Burning Rome. Shortly after the album was recorded, new guitarist Billy Duffy (formerly of the Nosebleeds) joined the band, and soon after that, drummer Rendle was replaced by Nigel Preston. The album reached No. 17 in the UK Albums Chart, and also spawned the Top 40 single "Do You Believe in the West World".

Also in February 1982, in an effort to combat bootlegging of their concerts, Theatre of Hate released another live album, He Who Dares Wins, recorded in September 1981 in Berlin.

Theatre of Hate released a new single, "The Hop", in May 1982, followed by the "Eastworld" single on 28 August. The band split in 1983. Revolution, a posthumous 1983 compilation album, spent three weeks in the UK Albums Chart, peaking at No. 67.
Lest you think they broke up and went away in 1983, they reformed in 1991 and, with personnel changes, fits and starts, have been recording and gigging ever since.

A good opportunity to check them out. In the meantime, dive into this second (of three) sessions for the inimitable John Peel at BBC Radio 1.
UK Decay In Session - 1981 - Past Daily Soundbooth UK Decay - From Luton - center of the Punk Rock Universe - re-active since 2013 - bringing in new fans.



UK Decay - in session for John Peel - Recorded July 27, 1981 - broadcast August 5, 1981 - BBC Radio 1

UK Decay tonight - their second session for John Peel at BBC Radio 1. Recorded on July 27, 1981 and broadcast on August 5th of that year.

In case you aren't familiar:
UK Decay was born out of the ashes of another Luton band called the Resiztors, who had formed in 1978. The Resiztors' lineup consisted of guitarist Steve "Abbo" Abbott, drummer Steven David Harle, bassist Martin "Segovia" Smith and vocalists Ricky Smith and Paul Wilson.  After the vocalists' departure in the spring of 1979, the remaining band members changed their name to UK Decay, with Abbott as singer (and guitarist). They soon released the Split Single 7" EP in partnership with fellow local band Pneumania, on their own Plastic Records label. The EP featured two tracks from each band, with UK Decay contributing "UK Decay" and "Car Crash". Split Single sold extremely well, mainly thanks to a damning review in the NME by Danny Baker and Charles Shaar Murray. At the same time, some UK Decay members produced their own monthly fanzine The Suss  and ran their own punk record and clothes shop called Matrix. Guitarist Steve Spon was soon recruited from Pneumania, allowing Abbo to concentrate on frontman duties.

The next release for Plastic Records was UK Decay's The Black 45 four-song EP, issued in early 1980. It hovered in the UK Indie Chart for 15 months. Alex Howe from Fresh Records offered to license the first two singles, and signed UK Decay to the label. The first official release for Fresh was the single "For My Country", issued in September 1980. "For My Country" received airplay from John Peel (for whom they would record two sessions) and spent eight months in the indie chart, reaching No. 13. The single was promoted by a major UK tour with hardcore punk band Dead Kennedys. By 1981, two further singles had also been released, "Unexpected Guest" and "Sexual". The former achieved the band's highest indie chart placing of No. 4, and paved the way for UK Decay's debut album, For Madmen Only, released by Fresh in December 1981. The album had taken a year to gestate, due to delays caused by a time-consuming US tour and a frustrating search for a new permanent bass player. When original bassist Smith left, Lorraine "Lol" Turvey from the Statics stood in for some UK dates and an early 1981 European tour. For the US jaunt and subsequent UK tours in spring 1981, Creetin K-OS (of US punks Social Unrest) stood in. Following that stint, K-OS returned home and Eddie "Twiggy" Branch from Northampton joined on bass, just in time to finish the album. During this period, Abbo jokingly referred to the band's sound as "goth" in a Sounds interview, helping to immortalize the beginning of the gothic rock movement, although UK Decay considered themselves a punk band first and foremost.

In early 1982, Fresh Records collapsed, and UK Decay were caught up in the ensuing management buyout by what would become Jungle Records. With the help of John Loder and Southern Studios, they managed to buy up the rights to their back catalogue and set up their own label, UK Decay Records. Loder also introduced them to Penny Rimbaud from Crass, which resulted in the Rising from the Dread 12" EP (featuring the 10-minute epic "Werewolf") being issued on Crass' Corpus Christi label in August 1982. However, despite a strong showing in the independent charts and an ever-expanding fanbase, the five years of continuous touring took their toll and UK Decay split up in December 1982. Posthumous cassette-only live album A Night for Celebration was released during the summer of 1983.

Abbo, Harle and Branch would regroup with new guitarist Albie de Luca (formerly of Gene Loves Jezebel) as Furyo in mid-1983, releasing two mini-albums through the following year and recording an unreleased album before splitting again in early 1985.

Spon went on to form In Excelsis with former members of Ritual; the group released several singles and an album on Jungle Records. He later formed the trio the Big Eye, released two EPS and a CD during 1994–95 on the Hydrogen Dukebox label. He also released several solo singles and two techno albums (from 1997 through 2011) under the name "Nostramus".
Thanks Wikipedia.

As a postscript: They reformed in 2008 (after a brief reunion in 1993 and a few fits and starts in 2005). They have since gone through several personnel changes but are currently active.

Here's a reminder of what 1981 was sounding like.
Touts In Session - 2018 - Past Daily Soundbooth Touts - Punk from Derry set on Blast.





Touts in session - Maida Vale studio - BBC - April 27, 2018 - BBC Radio 1 -

Touts in session for Tuesday night. Lest you think Punk has disappeared from the scene, Touts are here to remind you it's not. It's alive and well and tearing up the Northern Irish town of Derry and gathering steam in the process.

TOUTS are a three piece teenage punk band from Derry, Northern Ireland. The unhinged, angry and visceral teens are Matthew Crossan, Jason Feenan & Luke McLaughlin . "A singer that can't sing, a mod that can't play bass & a drummer that can't see".

The band's live reputation in Northern Ireland has spread like wild fire and has seen them sell out venues to masses of kids throughout the province without releasing any music. This year the band are set to release their forthcoming debut EP through their new label Hometown Records, previous home to the likes of Ratboy, Rejjie Snow, Yonaka and many more.

Having formed on April of 2017, two of the three band members are still in their teens and the third only recently hitting 20, they've still got a ways to go. Already going down well on the Festival circuit as well as doing a showcase at SXSW last year. Currently on tour between now and the end of March, they are taking in Dublin and Belfast as well as dates in the UK - that's what's going on until March 30th, at least according to their website.

As far as I know they aren't working on a debut album, sticking to singles and eps for the time being. The latest they've released is an ep Analysis Paralysis which came out late last year.

A band with lots of attitude and lots of promise - if you aren't already familiar with Touts, hit the play button and enjoy this rather turbo-charged set.
The Germs - Live At The Starwood - 1980 - Past Daily Soundbooth - RIP: Lorna Doom (1957-2019) The Germs (Lorna Doom on the left end) - L.A. had a Punk scene, and they were the ones who helped shape it. And then things went south. (Photo: John Gentile)



The Germs - live at The Starwood - December 3, 1980 - Rhino Records 2010 -

The Germs to end out an insane week. With the sad news on Thursday of the death of bassist Lorna Doom (aka: Teresa Ryan), I was reminded of how short-lived, but how seismic this band was to the L.A. Punk scene.

Formed in 1976, Germs were one of the earliest and most influential west coast punk bands, helping to usher in the high-speed hardcore punk style. Their only album, (GI), was produced by Joan Jett and released in 1979. Belinda Carlisle had a short stint as a drummer, while their guitarist Pat Smear would go on to join Nirvana as a touring guitarist and then Foo Fighters. The band’s singer Darby Crash killed himself in 1980, aged 22, shortly after the band had split.

That's it in a nutshell - however, there's more (there's always more): Singer Darby Crash (born Jan Paul Beahm) and Pat Smear (born Georg Ruthenberg) decided to start a band after being kicked out of University High School for antisocial behavior, allegedly for using "mind control" on fellow students. Their original name was "Sophistifuck and the Revlon Spam Queens", but they had to shorten the name as they could not afford that many letters on a T-shirt. The (initially hypothetical) first lineup consisted of Beahm (then known as Bobby Pyn, and later as Darby Crash) on vocals, Ruthenberg (under the name Pat Smear) on guitar, an early member named "Dinky" (Diana Grant) on bass, and Michelle Baer playing drums. This lineup never played in front of a live audience.

In April 1976, the band added Lorna Doom (born Teresa Ryan) on bass, with transitional member Dottie Danger (later famous as Belinda Carlisle of the Go-Go's) on drums. Carlisle never actually played with the band, as she was sidelined by a bout of mononucleosis for an extended period. She was replaced by her friend Donna Rhia (Becky Barton), who played three gigs and performed on their first single. Carlisle remained a friend and helper of the band (she can be heard introducing the band on the Germicide: Live at the Whiskey recording, produced by Kim Fowley), only leaving because her new band, the Go-Go's, were becoming popular and, as she put it, "I was really disturbed by the heroin that was going on". Nickey Beat, of various noteworthy Los Angeles bands including the Weirdos, also sat in on drums for a time.

The band's first live performance was at the Orpheum Theater. Smear recalled: "We made noise. Darby stuck the mic in a jar of peanut butter. It was a dare, we had no songs or anything! Lorna wore her pants inside out, and Darby covered himself in red licorice...we made noise for five minutes until they threw us off".

The Germs initially drew musical influences from Iggy Pop, David Bowie, Ramones, the Runaways, Sex Pistols, and New York Dolls. Early on, Smear was the only musically experienced member; Doom survived early performances by sliding a finger up and down the fretboard of her bass while Rhia generally kept a minimal beat on the bass drum, periodically bashing a cymbal.

Early performances were usually marked by raucous crowds made up of the band's friends. As a result, their gigs became notorious for being rowdy and usually verged on a riot.

The end of the band came when Crash, who had become increasingly impatient with drummer Bolles' antics, fired him and replaced him with his friend Rob Henley.

Shortly after the Germs split, Crash and Smear formed the short-lived Darby Crash Band. Circle Jerks drummer Lucky Lehrer joined the band on the eve of their first (sold-out) live performance, when during soundcheck, Darby kicked out the drummer they'd rehearsed with. The band, described by Smear as "like the Germs, but with worse players", played only a few gigs to lukewarm reaction before splitting up.

Shortly after that, Crash contacted Smear about a Germs "reunion" show, claiming it was necessary to "put punk into perspective" for the punks on the scene. However, Smear has said Crash told him privately he wanted to earn money for heroin with which to commit suicide. Since Crash had described this scenario many times in the past, Smear did not take him seriously.

On December 3, 1980, an over-sold Starwood hosted a final live show of the reunited Germs, including Bolles. At one point, Crash told the amazed kids in the audience, "We did this show so you new people could see what it was like when we were around. You're not going to see it again".

Crash committed suicide on December 7, 1980, at age 22. Unreported at the time, Crash had overdosed on heroin in a suicide pact with close friend Casey "Cola" Hopkins, who ended up surviving. She later insisted that he did not intend for her to live, nor did he change his mind at the last minute and intend for himself to live. According to Spin, apocryphal lore has Crash attempting to write "Here lies Darby Crash" on the wall as he lay dying, but not finishing. In reality, he wrote a short note to David "Bosco" Danford that stated, "My life, my leather, my love goes to Bosco".

Outside the world of the Germs' fans, news of Crash's death was largely overshadowed by the murder of John Lennon the next day. A local news station mistakenly reported that Crash had died from taking too many sleeping pills.

That's a bit of historic background on Doom's place in L.A. Punk history. I can't take credit for this recording - I didn't make it, nor did any of my radio station buddies make a copy nor did any "business" friends with connections to house mixers turn me on to this - this was from a Rhino Records official release in 2010. I'm not sure if it's still in print - and those of you who are fans will no doubt already have this. This is for the newcomers who are just getting their feet wet in early Punk and who are curious about the development of the West Coast in the Punk scene. This is for you. It's also a reminder that we lost a seminal figure in that movement and to remember who that seminal figure was.

RIP: Lorna (Teresa Ryan) Doom.
Cuban Heels In Session - 1981- Past Daily Soundbooth Cuban Heels - when Johnny The Self Abusers broke up - two bands were formed - Cuban Heels and Simple Minds - guess which one everybody remembers.(Thanks Dave Driscoll)



Cuban Heels - In Session for John Peel - recorded October 10, 1981 - broadcast October 15, 1981 - BBC Radio 1 -

Cuban Heels to end the week, in a session (their second) recorded for John Peel on October 10th and broadcast on October 15, 1981. The band may not ring a lot of bells, particularly with American audiences, but when you consider they were originally one half of Scottish punk band Johnny The Self-Abusers and that, upon breaking up, two bands emerged; Cuban Heels and Simple Minds, you get the bigger picture.

Within four months of Johnny's demise, the Heels already had their first single (Downtown, on Housewive's Choice) in the shops. At the time of its release, the band was bassist Paul Armour, guitarist Laurie Cuffe, vocalist John Milarky, and drummer Dave Duncan. They set up their own label, Cuba Libre, to release the Walk on Water single in 1980. Armour left and was replaced by Nick Clarke in time for the 1981 singles Sweet Charity and My Colours Fly; the LP Work Our Way to Heaven was also out by the end of the year, as well as a single in support of it.

Ironically, The Cuban Heels released their debut 7″ on their own Housewives Choice records in 1978 but three years later, found themselves signed to Simple Minds’ label Virgin Records. In fact, their sole album has a catalog number just three digits north of Simple Minds’ debut for Virgin Records that same year. Sadly, The Cuban Heels didn't last as long as Simple Minds and have gone on to achieve a level of obscurity not particularly deserved in the Scottish Punk/Post-Punk/New Wave pantheon. One thing was certain - John Peel was a fan and this was the second of two session Cuban Heels did for Peel in 1981.

So crank it up. The session was produced for Peel by none other than the legendary former Mott The Hoople drummer Dale "Buffin" Griffin who produced a string of sessions for Peel from 1981-1984. All the more reason to flip the play switch and have a seat.
Buzzcocks - Live At Amsterdam Paradiso - 1979 - RIP: Pete Shelley - Past Daily Soundbooth: Memorial Edition Pete Shelley - Punk pioneer, but oh, so much more. (1955-2018)



Buzzcocks - live at Amsterdam Paradiso - March 2, 1979 - Gordon Skene Sound Collection -

Terrible news today. The passing of Pete Shelley, who was not only the spirit and guiding light of seminal Punk band The Buzzcocks, but who went on to a stellar career as a solo artist. Gone today, at 63 - heart attack.

I was thinking back to the first time I heard Buzzocks; how they seemed to be several notches ahead of most Punk bands at the time. But how this enormous wave of new music was such an overwhelming change in what had gone on before, that it was hard at first to digest it all. But Buzzcocks were standouts, and I remember being as glued to listening to them as much as The Damned, another band who I felt were seminal in this new direction for Pop Music.

Although they gained their initial popularity in the UK with Orgasm Addict (despite getting banned by the BBC), they scored huge with "Ever Fallen in Love (With Someone You Shouldn't've)". In the U.S. it was a different story. Punk was slow to catch on here - tracks issued by United Artists in the UK weren't issued in the states and only available as imports, or showed up later on IRS Records. I remember Something's Gone Wrong Again getting played a lot here on the West Coast, but it was the flipside of Harmony In My Head which was a hit in the UK, but not in the U.S.. Thanks largely to FM stations like KROQ, The Buzzcocks became household names to a big chunk of American youth. And Something's Gone Wrong Again became an anthem for the 70s - at least with some of us.

Whatever the machinations were at the time (and admittedly, the U.S. Record industry had no idea what to do - hence the DIY movement with American Punk), The Buzzcocks established their popularity here by touring - and that was the best thing for them to do. It got us to know what a songwriting gift Pete Shelley had - how The Buzzcocks were embracing a certain Punk ethic, they had gone out of the realm of three-chord wonders and their songs were actually about something substantial - that the human condition was fertile ground for this new genre and how The Buzzcocks were mining a rich vein of material, but how Pete Shelley had the keen gift of observation, while cramming it all into a three minute song. Proof of that was the compilation album Singles Going Steady which critic ned Ragget described as "a collection of punk masterpieces" - a spot-on assessment.

So as a reminder, and tribute to the passing of a uniquely gifted and supremely talented artist, here is a concert they performed at the legendary Amsterdam Paradiso on March 2, 1979 and broadcast (at least a substantial chunk of it) via Dutch radio network VPRO.

Pete Shelley left us way too soon. But he left a legacy that will be with us for a very long time - and for that, there is endless gratitude.
The Feels - In Session - 2017 - Past Daily Soundbooth The Feels - Not your average-run-of-the-mill psych punk post future rock + roll melody band. Nope. (photo: Alexthebrown)





The Feels - in session for Pressure Drop.tv - October 2017 -Pressure Drop.tv -


Ending up the week's worth of checking out what's been going on in L.A. these past few months with a set by The Feels - recorded by the ever-present Pressure Drop.tv in October of last year. The Feels, if something about them seems a bit familiar to you, and you checked out our post from a few days ago featuring Shannon Lay - it's one in the same. The folk-tinged/dream-scape solo work of Shannon Lay is the same Shannon Lay shredding like a house on fire with The Feels. No one is ever going to convict her of being dull and predictable.

Like most of the bands and artists I've been featuring this week, The Feels are also getting a considerable amount of positive word-of-mouth and very good press for a while. And like the others, they are touring and performing just about everywhere they can. The work is paying off.

Here's what some of the reviews have been looking like (just a sample):



"...They’ve figured out a way to be melodic yet rough as well as musically talented but raw. Laena’s voice is downright beautiful and she performs with so much elegance. She has a Bowie-esque grace on stage which she is able to compliment with some pretty filthy guitar work. When her and guitarist Shannon Lay trade off vocals during songs expect goosebumps. The new addition to the lineup and contributor to their new, heavier sound is bassist Amy Allen. She is fast and drivey and is a perfect fit for how Feels should sound. When the crowd overcame the initial awe, violence ensued and a night full of substantial moshing commenced. Feels are dynamic, original, talented and easy to bang your head to. An A+ for sure."
-Janky Smooth (The Constellation Room opening for King Tuff)

"A hallway away, the smaller Constellation Room offered glimpses of a dozen-plus upstarts. The most promising was Feels, a new Los Angeles quartet formerly known as Raw Geronimo. Led by the assured, often electrifying hum of two strumming guitarists -- singer-guitarist Laena Geronimo (formerly of the Like) and rhythm guitarist and keyboardist Shannon Lay -- Feels pushed forth heavy, hard punk with more swagger than many of the acts on the main stage."
- The Los Angeles Times (Burger-a-go-go)



That's a sampling. And reading the L.A. Times review, I was reminded that Laena Geronimo, The Feels singer-guitarist was also a founding member of another fave L.A. band, The Like, which sadly came and went rather quickly, but who left some very nice material and a stunning Debut album. Okay, now I know why I like this band so much.

Since they are locals, the chances of the L.A. audience catching them in a live gig are quite high. And I would heartily recommend you check them out. In the meantime, crank this one up and enjoy the hell out of it.

Hopefully much-much more to come.
The Raincoats - In Session - 1980 - Past Daily Soundbooth The Raincoats - Fit right into the 70s - experimenting and knocking down barriers.





The Raincoats - In session from Maida Vale Studios - BBC Radio 1 - December 12, 1980 - BBC Radio 1 -


The Raincoats in session at The BBC. Recorded at Maida Vale Studios on December 12, 1980 for BBC Radio 1. I only vaguely remember hearing about The Raincoats, right around the time I first heard about Throbbing Gristle. These were bands that represented the experimental side of Punk, opening the doors to Post-Punk and freeing up the atmosphere, taking it beyond 3-chord wonders.

Not for everybody - in fact, the Experimental side of things really got out to a small audience; people who were disenfranchised with Punk, who had come from the Prog genre and were up for something a bit more complicated and spontaneous. The Raincoats filled the bill quite nicely.

The Raincoats consisted of Ana da Silva (vocals, guitar) and Gina Birch (vocals, bass) formed the group in 1977 while they were students at Hornsey College of Art in London. (of course; all the really interesting bands got started in Art School - ever since the 1950s).

For the band's first concert on 9 November 1977 at The Tabernacle, the line-up included Birch, da Silva, Ross Crighton (guitar) and Nick Turner (drums). Kate Korus (from the Slits and later the Mo-dettes) joined briefly but was replaced by Jeremie Frank. Nick Turner left to form the Barracudas, and Richard Dudanski (ex-The 101ers and later Public Image Ltd.) sat in on drums, while filmmaker Patrick Keiller replaced Frank on guitar.

Late in 1978, the Raincoats became an all female band as they were joined by the Slits' ex-drummer Palmolive and the classically trained violinist Vicky Aspinall, with this line-up making their live debut at Acklam Hall in London on 4 January 1979. Managed by Shirley O'Loughlin, the band went on their first UK tour with Swiss female band Kleenex, in May 1979 after Rough Trade Records released their first single, "Fairytale in the Supermarket". Johnny Rotten was an early admirer of the band, and later stated: "The Raincoats offered a completely different way of doing things, as did X-Ray Spex and all the books about punk have failed to realise that these women were involved for no other reason than that they were good and original". The Raincoats' distinctly uncommercial sound did not appeal to everyone; after witnessing an early performance by the band, Danny Baker remarked that "they are so bad that every time a waiter drops a tray we'd all get up and dance".

In November 1979, Rough Trade released the band's self-titled debut album, which received considerable acclaim from the press. Palmolive had left the band in September, shortly before The Raincoats came out, and teenager Ingrid Weiss joined the band on drums. The Raincoats' second album, Odyshape, was released in 1981 and featured Weiss as well as drumming contributions from Dudanski, Robert Wyatt (The Soft Machine) and Charles Hayward (This Heat). The Raincoats employed a diverse selection of cheap second-hand instruments such as the balophone, kalimba and gamelan on Odyshape, and the album incorporated British folk, dub basslines, polyrhythmic percussion and elements of free jazz among other world music influences. Its eclectic mix of musical genres has been described as one of the "great lost moments of women-in-rock".

So if you missed them the first time around (they reunited in 1993 and are still performing as a group), you now have a change to make up for lost time by listening to this 1980 session.

No need to crank it up - just keep an open mind and be prepared for the unconventional.
It's November 4, 1979 - You're A Teenager - You Live In L.A. - You Dyed Your Hair White And Your Social Life Is Kinetic - And You Believe What Rodney Tells You It's The Brave New World And you inherited it sight unseen. Photo: John Brian King



KROQ - Rodney On The Roq - November 4,1979 - Gordon Skene Sound Collection -

Even though you've been hearing about it, knew there was "something" going on - this was the year you found it. This was the year you marched down to the Barber and asked for a buzz-cut - or had your girlfriend, who was handy with a pair of scissors and was tinkering with hair dye, get spiky on you and dye your hair so you looked like a laboratory mouse.

The bellbottoms went to Goodwill, so did the Polyester shirts, platform shoes and any jacket with wide lapels. The New You was about to emerge; jeans, white t-shirt and either Doc Martens High tops or boots from The Supply Sergeant on Santa Monica Boulevard, to the Brave New World of 1979.

Your social life was going to become a lot more tactile - you discovered the Mosh Pit - and so far you've got two black eyes, a bloody nose and your wrist doesn't seem to be working so well anymore. The week before you went to The Starwood to see The Plugz and got soaked in beer. You loved it and you don't think you're going to wash your shirt for another month. Somebody did throw up on your Doc Martens though. Looks a lot like Chicken Fried Rice and it'll take a year to get the little bits of pre-digested rice out.

You've been thinking of changing your name; Johnny Malice has a nice ring to it and you're thinking of maybe starting a band. You played Clarinet in Junior High - maybe you could swap that for a bass. One of your buddies plays drums and your girlfriend plays guitar - she's already been in a couple bands and knows the booker at The Whiskey.

Lots of possibilities, and they are all turbo-charged. And on most school nights, heaven on earth is The Atomic Café. You've found your tribe - you are with your people.

Now if you could just hurry up and graduate. . . .

Have a listen to an hour's worth of Rodney On The Roq from November 4, 1979, featuring a phone call from Joey Ramone and an interview with Geza X.
Gang Of Four - Live At Hempstead - 1983 - Past Daily Soundbooth Gang Of Four - widely considered one of the leading bands of the post-punk movement of the late 70s/early 80s.



Gang Of Four - Live At Hofstra University, Hempstead, New York - October 22, 1983 - Gordon Skene Sound Collection -

Gang Of Four tonight. I think we might be going on an 80s excursion this week - sit back and enjoy.

For those of you not instantly familiar: Gang of Four's music brought together an eclectic array of influences, ranging from the neo-Marxist Frankfurt School of social criticism to the increasingly clear trans-Atlantic punk consensus. Gang of Four was named by a member of the Mekons while driving around with Gill and King when he came upon a newspaper article on the intra-Party coup against China's "Gang of Four".

The Gang's debut single, "Damaged Goods" backed with "(Love Like) Anthrax" and "Armalite Rifle", was recorded in June 1978 and released on 10 December 1978, on Edinburgh's Fast Product label. It was produced by the Gang of Four and Bob Last and Tim Inman. It was a Number 1 indie chart hit and John Peel radio show favorite. This led to two Peel radio sessions, which, with their incendiary live performances, propelled the band to international attention and sold-out shows across Europe and North America. They were then signed by EMI records. The group's debut single with this label, "At Home He's a Tourist", charted in 1979. Invited to appear on top rated BBC music program Top of the Pops, the band walked off the show when the BBC told them to sing "rubbish" in the place of the original lyric "rubbers", as the original line was considered too risquè. The single was then banned by BBC Radio and TV, which lost the band support at EMI, who began to push another band, Duran Duran, instead. King's lyrics were always controversial and a later single, "I Love a Man in a Uniform", was banned by the BBC during the Falklands War in 1982.

Critic Stewart Mason has called "Anthrax" not only the group's "most notorious song" but also "one of the most unique and interesting songs of its time".It's also a good example of Gang of Four's social perspective: after a minute-long, droning, feedback-laced guitar intro, the rhythm section sets up a funky, churning beat, and the guitar drops out entirely. In one stereo channel, King sings a "post-punk anti-love song", comparing himself to a beetle trapped on its back ("and there's no way for me to get up") and equating love with "a case of anthrax, and that's some thing I don't want to catch." Meanwhile, in the other stereo channel (and slightly less prominent in the mix), Gill reads (on the original EP version) a detailed account of the technical resources used on the song, which on the re-recorded album version is replaced by a deadpan monologue about public perception of love and the prevalence of love songs in popular music: "Love crops up quite a lot as something to sing about, 'cause most groups make most of their songs about falling in love, or how happy they are to be in love, and you occasionally wonder why these groups do sing about it all the time." Although the two sets of lyrics tell independent stories they occasionally synchronize for emphasis.

According to critic Paul Morley, "The Gang spliced the ferocious precision of Dr. Feelgood's working-class blues with the testing avant-garde intrigue of Henry Cow. Wilfully avoiding structural obviousness, melodic prettiness and harmonic corniness, the Gang's music was studded with awkward holes and sharp corners.= At the time, the band was recognised to be doing something very different from other white guitar acts. Ken Tucker, in Rolling Stone, 1980, wrote: "...rarely have the radical edges of black and white music come closer to overlapping... the Gang of Four utilize their bass guitar every bit as prominently and starkly as the curt bass figures that prod the spoken verses in (Kurtis Blow's "culture defining" huge summer hit) "The Breaks."

In 1981 the band released their second LP, Solid Gold. Like Entertainment!, the album was uncompromising, spare, and analytical; such songs as "Cheeseburger," "He'd Send in the Army," and "In the Ditch" exposed the paradoxes of warfare, work, and leisure. Van Gosse, in a Village Voice review said: "Gang of Four embody a new category in pop, which illuminates all the others, because the motor of their aesthetic is not a 'personal creative vision.'"

Dave Allen (who later co-founded Shriekback, King Swamp, Low Pop Suicide and the Elastic Purejoy) had left in 1981, and had been briefly replaced by Busta "Cherry" Jones, a sometime player with Parliament, Brian Eno, and Talking Heads. After working with the Gang to complete their North American tour obligations, Jones left and was replaced by Sara Lee, who was Robert Fripp's bassist in the League of Gentlemen. Lee was as good a singer as bassist, and she helped give the band's third studio album, Songs of the Free, a more commercially accessible element. Although "I Love a Man in a Uniform" from the album was the band's most radio-friendly song, it was banned in the UK shortly after its release because Britain went to war in the Falkland Islands. In the spring of 1983, Burnham left the band after the release of Songs of the Free and formed Illustrated Man. Gill and King continued Gang of Four, releasing Hard in 1983.

And that takes us up to the period of this recording, done during their U.S. tour.

Crank it up.
Chelsea In Session - 1977 - Past Daily Sounbooth . . . .and 41 years later, still going strong.




Chelsea In Session - John Peel - June 21, 1977 - BBC Radio 1 -


Chelsea in session for John Peel tonight. Together since 1976, with a lot of changes in personnel, but still gigging and recording some 42 years later.

Chelea got started in 1976. Three of the four original band members went on to found Generation X.

More than two decades after its release, the band's debut single, "Right to Work", was included in the Mojo list of the best punk rock singles of all time.

The original line-up of the band was assembled in late 1976 by John Krivine, the owner of Acme Attractions, a fashion boutique shop in King's Road in Chelsea, London, comprising vocalist Gene October, guitarist William Broad (later and better known as Billy Idol), bassist Tony James and drummer John Towe; James and Towe had previously been in London SS. After three support gigs playing cover versions of other bands' songs, Idol and James departed in November 1976, taking Towe with them, to form Generation X. The rest is history.

October then recruited Carey Fortune (drums), Martin Stacy (guitar) and Bob Jessie (bass), with the last two soon replaced by Henry Daze (Henry Badowski) and James Stevenson.

Chelsea's first single, "Right to Work", was released in June 1977 by Step-Forward Records. Recorded by the October/Fortune/Daze/Stevenson line-up of the band, it was their most popular song, and also appeared on the soundtrack album (issued in 1978 by Polydor) to the 1977 Derek Jarman film Jubilee (which October had appeared in).

Simon Cade Williams, aka Simon Vitesse, joined the band as bassist in 1977 for a UK tour and the band's second single, "High Rise Living". This rapid turnover of band members was characteristic throughout Chelsea's existence, with October the only constant presence.

On August 25, 1978 the band released another single, "Urban Kids", which was co-written by October and Alternative TV and produced by ex-Who manager Kit Lambert.

After spending 1977–78 touring in the UK and overseas, they released their first album, Chelsea, in 1979.

A singles compilation, Alternative Hits, was released in 1980; it was also issued in the U.S. by I.R.S. Records, retitled No Escape.

In the early 1990s, a line-up featuring the returning Austin and new bassist Mat Sargent released The Alternative (1993) and Traitors Gate (1994) albums. In 1999, the line-up from the first album, including Stevenson, reformed for the Social Chaos Tour across North America. A live album, Metallic F.O.: Live at CBGB's (released 2002), was recorded at CBGB in New York City during this tour.

Augmented by Buzzcocks bassist Tony Barber, the band released Faster, Cheaper and Better Looking in 2005. Austin and Sargent returned in 2011, and this line-up released the album Saturday Night Sunday Morning in 2015. The Mission Impossible album followed in 2017.

And there you have it. If you missed them the first time around, crank up this session for Peel, their first of two (the other one is from 1978) and punch a hole in the sound barrier.

Couldn't hurt.
Spectrum In Session - 1992 - Past Daily Soundbooth Peter Kember - aka: Sonic Boom - aka: Spectrum - and Spacemen 3 figures in there too.




Spectrum - in session for Mark Goodier - June 26, 1992 - BBC Radio 1 -

A dose of Shoegaze tonight via Spectrum, aka: Sonic Boom, aka: Peter Kember.

Peter Kember (born 19 November 1965) is an English musician and record producer. He was a founding member, bassist, vocalist and guitarist of alternative rock band Spacemen 3, lasting until the band's dissolution in 1991.

He is most commonly known under his frequent pseudonym Sonic Boom, and has collaborated with produced projects with other artists under the name. He performed production duties on MGMT's sophomore album Congratulations, Panda Bear's albums Tomboy and Panda Bear Meets the Grim Reaper, and Beach House's seventh album, eponymously titled 7.

As a musician, Kember has recorded as Spectrum and E.A.R. (Experimental Audio Research), parallel musical projects with recordings under both names occasionally only featuring Kember. He has occasionally performed live under both monikers, most recently in 2008–11 as Spectrum, touring as a band in America and Europe. Kember has played and collaborated with a number of artists, including Stereolab and Yo La Tengo.

Kember recruited new musicians for the group Spectrum in 1991. Initial their releases carried on from the sound of late-period Spacemen 3, featuring conventional songs and a regular band. First single "How You Satisfy Me" was an original composition reminiscent of 1960s garage bands, based as it was upon the Chip Taylor-penned pop hit "Can't Let Go". 1992's Soul Kiss (Glide Divine) album was split between songs and longer experimental pieces featuring drones and repetition, and Highs, Lows and Heavenly Blows (1994) was also mainly song-oriented. Kember has occasionally collaborated with Jessamine and The Silver Apples under the Spectrum name.

Since 1996 the Spectrum name has been used for Kember's solo work, sometimes with Pete Bain from the original Spacemen 3 line-up and recording engineer/musician Alf Hardy. The music made with Bain and Hardy was often in the same vein as E.A.R., reflecting an increased interest in vintage analogue synthesizers, especially those made by EMS. After issuing 1997's Forever Alien album, there were no further releases of new material under the Spectrum moniker until 2008's Indian Giver collaboration with Jim Dickinson. Kember has also worked with Füxa's Randall Nieman.

During 2008–11, a four-piece version toured extensively in America and Europe. This included providing main support for the 2008 reformation tour of My Bloody Valentine, and a performance at the All Tomorrow's Parties festival in May 2011. An EP, War Sucks, was released in 2009.

So, if Spectrum doesn't ring many bells, certainly the other associated names will. In any event, this session for Mark Goodier at BBC Radio 1 was done around the time Soul Kiss was released and they play a few numbers off the album.

Crank it up, at your risk.
It's 1979 - You're A Teenager - You Live In L.A. - You Have Choices: Disco, Rock Or Punk? But you would really rather Pogo.



KTNQ-AM - Jack Armstrong - January 26, 1979 - Gordon Skene Sound Collection -

When you think about it, 1979 was a turning-point year in music. Sure, you still had Disco and it was still a dominating force in mainstream Pop and RB. And Rock was still Rock; big enough to fill stadiums, the Glitter and Platforms were fading away but still the staple of most record collections. Punk was on the fringe; big in Europe but the audience was slow to come around in the U.S. It was when Punk rounded off the edge and added those touches which would turn it into New Wave did you find a bigger audience in the U.S. - but it would all change once MTV landed in your town and on your cable channel. It was then that Top-40 stopped making sense - the audience would drift away from the once-impregnable powerhouse bastions of Pop music and leave them to become talk stations, Golden Oldies or silent blips in the atmosphere.

The world and Technology was changing before your eyes - and if you were like a lot of teenagers, you were picking up on things. Everybody had at least one friend who was venturing out in the cultural wilderness to bring back the cool stuff. You knew who they were; they didn't entirely fit in - they seemed edgy. Maybe they smoked Pot behind the Cafeteria or huffed a bag of Testors at school or had a friend of a friend of a friend who was a Pharmacist who got you all kinds of pills; good ones and weird ones and ones that didn't do anything. They hung out in Hollywood and sometimes smelled like Beer and cigarettes in class. Those were the ones who brought back stories and told you about records they heard or bands they saw that they had to sneak in to see because they weren't old enough - and it all seemed a little dangerous. But you liked that.

And it dawned on you that maybe, just maybe, you were the future.

In the meantime, you had KTNQ and Jack Armstrong and Top-40 as it was on January 26, 1979.
Pram In Session - 2018 - Past Daily Soundbooth Pram - busily whipping up a stew of sounds.



Pram In Session - Marc Riley - August 22, 2018 - BBC 6 Music -

Pram in session tonight for Marc Riley at BBC 6 Music - recorded August 22nd of this year. Pram are a British experimental pop band, formed in the Balsall Heath/Moseley area of Birmingham, England in 1988.

Originally from Harrogate, North Yorkshire, Rosie Cuckston, Matt Eaton and Andy Weir went to school together. In the late 1980s Cuckston and Eaton moved to Birmingham, where Cuckston met Shropshire-born Samantha "Sam" Owen by chance (at a local supermarket's Singles Night). Weir had moved to London to study art, but kept in touch. In 1988, the four musicians began working together in Birmingham under the temporary name Hole (performing solely with vocals and a homemade theremin), changing their name to Pram some time later.

In the initial Pram lineup, Cuckston sang and played keyboards, Eaton played mostly guitar, Weir played drums, and Owen played bass guitar. A little later the group added a fifth member, Max Simpson, on keyboard and sampler. Over time, the various band members introduced their multi-instrumental skills to the project - in particular, Sam Owen and Matt Eaton shared bass guitar and six-string guitar roles (as well as adding to the keyboards) and Owen also performed on various woodwind and reed instruments as well as singing backing vocals.

Pram's name (and their developing incorporation of unusual and toy instruments into their sound - including theremin, zither, toy piano, glass hammer, glockenspiel, and a Hawaiian bubble machine) emphasized their unearthly, childlike tone and presentation. Rosie Cuckston's eerie vocals and lyrics dealt with depression, loneliness and the dark side of childhood. The band's early recordings had a Krautrock-influenced blend of rhythmic guitar, keyboards and percussion which would eventually see them associated with the emerging post-rock genre, as would other elements of their work (although the band have rejected the label). The band was also inspired by multimedia and by memories of broadcast material: Sam Owen has commented that "in some ways film, animation, children's TV, Play For Today and public information broadcasts all lodged their spirit into our songs as much as the music we listened to."

In 2011, Matt Eaton recalled "there was never any discussion at that time what the group would sound like. We appropriated some of the working methods of Can and Faust... if a piece had a similarity/reminded someone of another work it was generally rejected. The emphasis was on new. We were inspired a lot by groups like The Slits, and especially The Raincoats. They invented their own ways of playing music - that's a surefire way towards artistic fulfillment." Other cited influences on the nascent Pram included Sonic Youth, The Pixies, My Bloody Valentine, The Fall, Big Black, The Residents and Alice Coltrane as well as various dub and bhangra artists.

Pram's first EP, Gash (engineered by Justin Broadrick) was self-released and sold by mail order and at gigs. While much harsher and more immediate than the band's subsequent recordings, it presented them as an inventive and dedicated experimental band and got them early attention from record labels.

Pram's growing reputation soon engaged the interest of Too Pure Records (then home to Stereolab, Mouse on Mars and PJ Harvey). Signing to Too Pure in 1993, Pram embarked on the release of several increasingly sophisticated recordings, the first of which was the Iron Lung EP.

Andy Weir left shortly after the release of the EP and was replaced as drummer by Daren Garratt, who would perform on all subsequent recordings until the dawn of the new millennium. This new line-up gelled instantly and would write, record and mix the band's debut album, 1993's The Stars Are So Big, The Earth Is So Small... Stay as You Are in time to meet their agreed, scheduled September release date. During the recording sessions, a trumpeter (credited only as "The Verdigris Horn") also joined the band and played on several album tracks, including the quarter-hour "In Dreams You Too Can Fly".

In April 1994, Pram released the Meshes EP, which was followed in September by their second album Helium. This record featured increasing use of the sampler. Pram's subsequent recordings began to show a marked interest in exotica.

Although their third album, 1995's Sargasso Sea, was awarded a rating of 0/10 when reviewed by the NME (which Pram took as a compliment), the band continued to gain momentum and popularity. Despite this, the band's sales were insufficient to save their business relationship with Too Pure, and the label dropped the band in late 1995. Pram have acknowledged that, despite the end of the business relationship, the label had always respected their artistic integrity and let them be themselves.

In September 2007 Pram released their seventh studio album The Moving Frontier. It was named number 7 in Wire Magazine's Top Ten records of the year. A remix EP based on various Moving Frontier tracks, Prisoner of the Seven Pines, followed in 2008 as did a full self-released collection of the band's visual work (short films, music videos and animations), collated on a limited edition 90-minute DVD called Shadow Shows of the Phantascope.

Following the release of Prisoner of the Seven Pines and Shadow Shows of the Phantascope, Pram went into a period of dormancy for almost a decade while the various members concentrated on other projects.

Pram reconvened in 2016 as a lineup of Sam Owen, Matt Eaton, Max Simpson and Harry Dawes (minus founder member and singer Rosie Cuckston, who'd left to concentrate on writing and academia). Now working as a predominantly instrumental project with an increased interest in film and site-specific work, the band performed at the Imaginary Musics festival in Switzerland in May 2017 (playing an audio-visual "music for Kopfkino" set) and at a combined sound-art installation and concert ('Under the Blossom That Hangs On The Bough') in Birmingham's Martineau Gardens as part of the for-Wards project and festival for June 2017.

Once again signed to Domino Records, the band released a new album, Across the Meridian, on 20 July 2018 (with Sam Owen now handling vocals). The album was launched at a Club Integrale Midlands concert at the Edge, on 20th July 2018, followed by concerts at The Lexington, London, on 22nd July and the Soup Kitchen, Manchester, on 26th July (with Fliss Kitson of The Nightingales playing drums).

So now you know - all you have left to do is hit the play button and dive in for the next 10 minutes and 51 seconds.
Idles In Session - 2018 - Past Daily Soundbooth Idles - by their own admission, had no clue what they were doing.



Idles - in session for Steve Lamacq - BBC 6 Music - August 8, 2018 - BBC 6 Music

Bristol punk extravaganza Idles to kick off the week - a session via BBC 6 music, recorded just days ago.

Idles, stylized as IDLES, are an English punk rock band formed in Bristol in 2012. They released their debut album Brutalism in 2017 to critical acclaim.

Idles has their roots in the Bat-Cave Night Club in Bristol, run by singer Joe Talbot and bassist Adam Devonshire, who met while at university in Exeter, eventually deciding to start a band.According to Talbot, "It took us a long time to get productive because we didn’t know what the fuck we were doing at all, we were fucking terrible for a long time." The band's first release was the Welcome EP in 2012. By 2014 the band comprised Talbot, Devonshire, guitarists Mark Bowen and Lee Kiernan, and drummer Jon Beavis. They released a second EP, Meat, and Meta, an EP of remixes, in 2015, and then started writing songs for their debut album.

After the 2016 singles "Well Done" and "Divide Conquer", the band's first album, Brutalism, was released in March 2017 to critical acclaim. DIY magazine, gave it 4 stars, calling it "An exhilarating escape along frenzied rhythms and powerhouse rhythms with a ferocious commentary for guidance...as vital as it is volatile." The Line of Best Fit website gave it 9/10, calling Idles "one of the most exciting British bands right now". It got 8/10 from PopMatters, with Ian King calling it "bracing, caustic, and relentless". Uncut gave it a similarly positive review, calling it "A rare rock record with the rage, urgency, wit and shattering of complacency usually found in grime."Talbot's mother died after a long illness while the band was working on the album, and is pictured on the cover, along with a sculpture by Talbot and his father.Her death gave Talbot and the band a new focus. They toured to support Brutalism, and supported The Maccabees on the London shows of their farewell tour, as well as supporting the Foo Fighters for the O2 Arena's 10th Birthday. Followed by several festival appearances throughout Europe, and began working on their second album, Joy as an Act of Resistance, which is due to release on 31 August 2018.Accompanying the release of Joy as an act of resistance, the group created an exhibition in collaboration with HM Electric Gallery in London, taking place 30 and 31 of August 2018.

Often described as post-punk, Talbot rejects the label, saying in June of 2017 "We're not a post punk band. I guess we have that motorik, engine-like drive in the rhythm section that some post punk bands have but we have plenty of songs that aren't like that at all."

In the odd event you missed them, here is their latest session for Steve Lamacq at BBC 6 Music, recorded only a few days ago.

Crank it up and enjoy.
The Carpettes In Session - 1978 - Past Daily Soundbooth The Carpettes - Started in '77 - ended in '81 - restarted in '96.



The Carpettes - In session for John Peel - rec. July 12, 1978 - broadcast July 24, 1978 - BBC Radio 1

The Carpettes in session to end the week. The Carpettes are a punk rock band from Houghton-le-Spring, Tyne and Wear, England, formed in 1977, they released two albums on Beggars Banquet Records and recorded two Peel sessions. They split up in 1981, but reformed in 1996, and are still going strong.

From their Wikipedia page:
The band was formed in 1977 by Neil Thompson (vocals, guitar), George Maddison (bass), and Kevin Heard (drums) (all three had played together since 1974 in Brown Sugar),The band's first release, the Radio Wunderbar EP, released on the Walthamstow-based indie label Small Wonder. The band named their follow-up single "Small Wonder" in the label's honour. They recorded two sessions for John Peel's BBC Radio 1 show in 1978, however between these two sessions, Kevin Heard was to be replaced by former Young Bucks drummer Tim Wilder. In 1979, they signed to Beggars Banquet Records, who issued their debut album, Frustration Paradise, towards the end of that year. A second album followed in 1980, with a final single released in December that year, before the band split up in June 1981 after war drove them apart.

The band reunited in 1996 to perform at the first Holidays in the Sun festival, with Thompson and Maddison joined by Thompson's brother Paul. This led to a permanent reunion and the release of a new album in 2002, Fair Play to 'Em. In 2005 Neil Thompson left the band and was replaced with Jimmy Devlin, a member of the Glasgow-based Just Another Dream. A final album was recorded featuring Paul Thompson playing drums on several tracks and another Glaswegian, Jim Cosgrove on the rest of the album. This was released on the Texas-based NDN Record label followed by a tour of Germany.

In 2009 George and Jimmy collaborated to record three new Carpettes songs, "When I`m Gone", "The Only Way to Be" and a cover of the Tom Waits song "Hold On" which were made available online.

In the Summer of 2011 The Carpettes toured The USA for the first time supported by Houston-based band The Shadow, led by Henrik Poulsen. With George on bass, Jimmy on guitar and Nick Raver, from Texas, on drums they covered 4000 miles and did 12 shows in Houston, Austin, San Antonio, El Paso, Las Vegas, San Francisco, Los Angeles, San Diego and Phoenix.
Here is their first session for John Peel,as it was broadcast on July 24th 1978. Crank it up and get ready for the weekend.
Crisis In Session - 1978 - Past Daily Soundbooth Crisis - Music to March to.




Crisis - In session for John Peel - recorded November 1, 1978 - Broadcast November 8, 1978 - BBC Radio 1


Crisis in session for John Peel tonight. Maybe not a familiar name in the States, but in the UK, a different story.

Crisis are a British punk rock band formed in 1977 in Guildford in Surrey.They performed at rallies for Rock Against Racism and the Anti-Nazi League, and at Right to Work marches. British music magazine Sounds used the phrase "Music to March To" to describe their distinctly edgy, controversial and far-left form of punk rock.

Formed in 1977 with the lineup of Phrazer (vocals), Lester Jones (lead guitar), Douglas Pearce (guitar), Tony Wakeford (bass) and Insect Robin the Cleaner (drums). Their debut single, "No Town Hall", was released in 1978 on Action Group Records.

Tonights session, their first, was recorded on November 1, 1978, two of the tracks released as the "UK 79" 7" single in 1979 on the Ardkor label. The remaining two Peel Session songs were posthumously issued by Ardkor in 1981 as "Alienation".

In early 1979, the band underwent a major change in personnel when Phrazer and Insect Robin the Cleaner were replaced by Dexter (a longtime fan and roadie) and Luke Rendle. After performing their last show, supporting Magazine and Bauhaus in their hometown of Guildford on 10 May 1980, the band broke up.A recording of the final show was released in 2008 as the Ends! CD.

Pearce and Wakeford went on to form Death in June in 1981. Wakeford later joined The Runners from 84, Above the Ruins and Sol Invictus. Rendle joined the Straps, then The Pack/Theatre of Hate. Jones formed Carcrash International. In 1985, Jones also performed as a touring member of Andi Sex Gang & the Quick Gas Gang.

The Crisis discography has been compiled on CD twice (as We Are All Jews and Germans double CD in 1997 by World Serpent, and as Holocaust Hymns single CD in 2005 by Apop Records), as well as once on vinyl LP Kollectiv in 2014 by La Vida Es un Mus).

In 2015, Wakeford formed the ensemble 1.9.8.4., to perform the songs he had written for both Crisis and Death in June. In 2017, 1.9.8.4., was renamed Crisis, announcing concerts in the UK and Europe in 2017 and 2018. The new Crisis line-up consists of original member Wakeford on bass, Lloyd James (of Naevus) on vocals, Clive Giblin (of Alternative TV) on guitar and Igor Olejar (of Autorotation) on drums. In a November 2017 interview with Louder Than War, Wakeford said, "It became increasingly obvious that there was major interest in Crisis and that the band and songs held a special place in people hearts...There is obviously a growing interest in that period, with a lot of bands reforming. Crisis were an important part of that history, and I think the band sound fresh and the songs are still valid, perhaps even more so today".

Crank it up.
The Cortinas In Session - 1977 - Past Daily Soundbooth The Cortinas - The more popular they got, the rowdier the crowds became.





The Cortinas - In session for John Peel - July 16, 1977 - BBC Radio 1 -

Punk pioneers The Cortinas tonight - from a session for John Peel, recorded on July 16, 1977 for BBC Radio 1.

The Cortinas were a Bristol-based punk rock band, originally active between 1976 and 1978. Guitarist Nick Sheppard went on to play with the Clash. In 2001, the band's debut single, "Fascist Dictator" (originally released in June 1977), was included in a leading British music magazine's list of the best punk-rock singles of all-time.

Named after a car, the Ford Cortina, the band moved from RB towards covering songs by punk forerunners like the New York Dolls and The Stooges.

The band developed a large and enthusiastic following in their hometown. Unfortunately, their growing popularity began to attract a great deal of crowd trouble.

The band were also frequent visitors to London and became one of the pioneering punk bands that played live in the first few months of the Roxy Club. They supported The Stranglers in January 1977 and then headlined twice the following month. The Cortinas headlined the Roxy again in March and April, supported by The Models on both occasions. In June 1977 they had their first headlining show at the Marquee Club. Later they played as support act for Blondie and Chelsea.

The Cortinas' first two singles both appeared on Step Forward, the label run by The Police manager Miles Copeland and Mark Perry.

On 16 July 1977, a few weeks after releasing "Fascist Dictator", the band recorded a session at Maida Vale 4 studio, for John Peel at BBC Radio 1. The track listing was "Defiant Pose", "Television Families", "Having It", and "Further Education".

Later the Cortinas signed for CBS Records and released one album, True Romances. One critic described the album as "disappointing" but rescued from "bland oblivion" by "cheeky tracks such as "Ask Mr. Waverly" and "I Trust Valerie Singleton". Another called it a mix of "rock'n’roll, RB and pop-rock" and therefore "much more mainstream in style and delivery" than the Step Forward singles.This was a view echoed by Wilson Neate of Allmusic: "Having begun life under the spell of '60s RB and garage rock, the Cortinas soon emerged as Bristol's premiere punk band, injecting a speedy, shouty, confrontational edge into their sound for their first two singles ("Fascist Dictator" and "Defiant Pose"). By the time of their 1978 debut album for CBS, however, they had re-embraced their formative influences and added a more pop-friendly dimension... True Romances sounds more befitting of a bunch of middle-aged pub rockers than five teenage punk rockers".

In case you missed them the first time around - it's not too late to get acquainted.

Crank it up.
The Capitols In Session - 1987 - Past Daily Soundbooth The Capitols - One session - one single - less than one year. But what might've been . . .



The Capitols - in session for John Peel - March 24, 1987 - BBC Radio 1 -

Aficionados of a certain age will see the name The Capitols and would be tempted to think it's the Soul group who gave the world Cool Jerk - but no. This Capitols were a very short lived band from Birmingham who were around less than a year, recorded one single and this sole session for John Peel on March 24, 1987.

Two hurdles - one; no photos, save for the one on the flip side of the single. Two; nothing comprising a bio on the band. And to add to the frustration, the made-up names of the band members made tracking down who went on to do what pretty impossible.

But I was able to find a blog post from a newly minted fan who had just discovered their solitary single and was pretty enthusiastic about it. The review prompted a response from Pete Byrchmore, one of the founding members of Cake Records, The Capitols label - so I thought I would share that with you:
Thanks for your piece on the capitols. I am Pete aka The Tank, ex Nightingale and Rumblefish guitarist and I used to Run cake records with fuzz Townshend who was the pigbros drummer – later with pop will eat itself. Capitols were v short-lived – possibly less than a year and this single and the peel session was all we did. Me n Maria were in rumblefish at the same time and I also did a band with mighty mighty singer Hugh harkin called Belfast Cowboys who made an album called Relief. The woman on the sleeve worked in a pub we frequented, the sleeve was hand assembled hence being crap!

Two years later I was signed to virgin with ex gales singer Robert Lloyd and these days I play in Manchester punk band gold blade who’ve made a lot of records. Also play in 80s noise types The Membranes. God loves a trier.

Peter
It may not be a full-fledged bio of the band, but it's certainly something to go on. The Capitols, it would appear, were capable of much more than being an obscure footnote. Check them out.
The Comsat Angels - In Concert 1983 - Past Daily Soundbooth Comsat Angels - "abstract pop songs with spare instrumentation, many of which were bleak and filled with some form of heartache" - works for me.





The Comsat Angels - Live In Concert at The Paris Theatre - 1983 - BBC Radio 1 In Concert series -


Diving into the early 80s tonight with a concert featuring The Comsat Angels - live at the BBC's Paris Theatre in 1983.

The Comsat Angels were an English post-punk band from Sheffield England, initially active from 1978 to 1995. Their music has been described as "abstract pop songs with spare instrumentation, many of which were bleak and filled with some form of heartache".They have been credited as being an influence to later post-punk revival bands such as Blacklist, Bell Hollow, Editors and Interpol. The Comsat Angels toured heavily in the UK and in western Europe, especially in the Netherlands. They also toured the United States twice. Their music has been extensively reissued and recompiled since 1995 by various record labels.

Named after the J. G. Ballard short story "The Comsat Angels", the foursome's original lineup (lasting from 1978 to 1992) consisted of Stephen Fellows (vocals, guitar), Mik Glaisher (drums), Kevin Bacon (bass) and Andy Peake – (keyboards).

They debuted in 1979 with the "Red Planet" three-track single. This release attracted Polydor A man Frank Neilson and the band signed a three-album recording contract. These three albums – Waiting for a Miracle (1980), which included the single "Independence Day", probably their best known song, Sleep No More (1981) and Fiction (1982) – are regarded by some as their best, but only sold modestly.

In their early years, the group shared live stages with bands like Siouxsie and the Banshees, Yellow Magic Orchestra, Depeche Mode, U2 (an 18-date tour in 1981), Captain Beefheart, the Sound, Wall of Voodoo and Gang of Four. In 1982, they performed two songs on BBC Television's the Old Grey Whistle Test. A U.S. tour in 1982 had to be cancelled after a week, due to Bacon contracting appendicitis.

The Comsat Angels' albums had remained out of print for years, but RPM Records rereleased the first three Polydor albums on CD in 1995, while another British label, Renascent, reissued several of them in 2006 and 2007, adding outtakes and other tracks. Martin Gore of Depeche Mode covered "Gone" on his 1989 EP, Counterfeit. In 1992, Silkworm covered "Our Secret" as the B-side of their "The Chain" 7" single. Joel RL Phelps, formerly of Silkworm, covered "Lost Continent" on his 1999 album Blackbird.

Jack Rabid, publisher of The Big Takeover magazine, has been one of the band's biggest supporters since the early 1980s.

Kermode, a film critic for BBC Radio 5 Live, championed the Comsat Angels when reviewing the Ian Curtis biopic Control, stating that the Comsats were "the band that Joy Division should have been".In May 2008, Kermode interviewed British poet Simon Armitage on BBC Two's The Culture Show and the two discussed their love of the band. In his Film Review show on 2 May 2014, Kermode related that Fellows had sent him the remains of the guitar he used in the band's first three albums, as he felt Kermode was one of the few people likely to appreciate it. Kermode had the guitar rebuilt into working order.

This concert comes during the time of the release of their fourth album, Land.

Crank it up and enjoy.
Big Flame In Session - 1986 - Past Daily Soundbooth Big Flame - variously referred to as one of the "Five Manchester bands hardly anyone talks about these days".



Big Flame - in session for John Peel - May 4, 1986 - BBC Radio 1 -

Big Flame in session for John Peel to end the week. Often referred to as one of the more influential bands nobody ever talks about anymore, Big Flame were around for a comparatively short period of time (1983-1986), released a handful of singles, called it quits and left an impression on some artists that carried well into the 90s.

From a very spot-on article by Damon Wilkinson in The Manchester Evening News, entitled "Five Manchester Bands Hardly anyone talks about these days, but should":
They were, according to Richey Edwards from the Manic Street Preachers, the only thing worth listening to in the 80s.

Named after a group of revolutionary socialist feminist Scousers, bIG fLAME’s sound has been described as ‘scratchy and untuned and stupidly loud’.

Simply Red they were not.

Formed in The Crescents, in Hulme, in 1982 and closely linked to, but never signed by, Factory Records, bIG fLAME wanted to be, according to guitarist Greg Keeffe, ‘the ultimate pop band’.

In brief spurt of mid-80s creativity they would release just four 7ins singles, an EP and a 12ins compilation, stand out like a sore thumb on the NME’s mythologised C86 cassette compilation, and record four sessions for John Peel.

And then, on the preordained date of October 11, 1986, the band called it a day after a farewell gig at the Boardwalk, determined not to get ‘seduced into full time careerist stuff’.
That's them in a nutshell, but I'm sure there's more to the story, there always is. Suffice to say they made an impression on those who mattered, faded into the woodwork, and manage to get rediscovered by new fans over the years. Thanks, in no small part to the efforts of John Peel, who had the band in session no less than four times during their tenure. It's the evidence that makes it all an "a-ha" moment.

Have a listen to what you may have missed in 1986 - and a definite tip of the hat to the memory of John Peel, who had the idea that recording bands for posterity would be important in the grand scheme of things. Can you imagine what it would have been like had he not done it? It's a thought that cannot be entertained on any reasonable level.

Just crank it up and get ready for the weekend.
Métal Urbain In Session - 1978 - Past Daily Soundbooth: Rock Without Borders Métal Urbain - Parisian Punks - one of the first.




Métal Urbain - In Session for John Peel - Recorded October 11, 1978 - Broadcast October 25, 1978 - BBC Radio 1 -

Métal Urbain, in case you missed it, were one of the very first Punk groups to come out of France; many say THE first, but as was the case with Punk, lots of people said they were the first - perhaps it was just the organic nature of the thing.

In any event, Métal Urbain formed in Paris in 1976. They were heavily influenced by The Clash and The Sex Pistols on one hand, and on the other by an electro approach related to Metal Machine Music by Lou Reed. They relied on heavily distorted guitars and replaced the traditional rock rhythm section of bass guitar/drums with a synthesizer and drum machine, a then-unique approach that foreshadowed the experimental possibilities that were explored by later post-hardcore bands such as Big Black. They were also known for their radical image (the color scheme of albums always being a stark black, white and red), and subversive lyrics sung in French.

They were met with some enthusiasm in the United Kingdom,particularly by John Peel and the Rough Trade label. (Métal Urbain's single "Paris Maquis" was Rough Trade's first release.). In 1977, their first single "Panik" was named "Single of the week" by the New Musical Express. They had an enthusiastic but small audience in France, receiving little exposure. The punk rock scene was not as popular in France as it was in the UK,and they didn't hold much interest for the French media as British bands like the Sex Pistols did. As a result, singer Clode Panik left in December 1978, though the band continued to gig and record with Eric Debris on vocals, and also recording with spin-off bands Metal Boys, and Doctor Mix and the Remix, until 1980, when guitar players brothers Schwartz and Lüger left to form the short-lived band Desperados.

Métal Urbain had focused their efforts on singles, and only produced one album, Les hommes morts sont dangereux, during their first period of activity. However, several compilation records were released, gathering their singles with additional material such as BBC sessions and live recordings.

Their electro approach was very innovative for its time, and the group are a reference point for such groups as The Jesus and Mary Chain, Bérurier Noir, and the producer Steve Albini.

The band reunited in 2003 to tour in the USA, and had since toured consistently in France and the rest of Europe. Métal Urbain recorded their first studio album, J'irai chier dans ton vomi, in 2006, produced by Jello Biafra in San Francisco; a follow up mini-album, Crève Salope, was issued in 2008.

This was their second session for John Peel - their first was in January of 1978.
The Stranglers - In Session - 1977 (Number 2) - Past Daily Soundbooth The Stranglers - owing their affiliation with Punk to The Ramones and Patti Smith.



The Stranglers In Session for John Peel - September 13, 1977 - BBC Radio 1 -

The Stranglers in session to kick off he week. Their second session for John Peel, recorded on September 13, 1977. FYI: I ran the first session a couple years ago, so you might want to dig around for that.

The Stranglers are an English rock band who emerged via the punk rock scene. Scoring some 23 UK top 40 singles and 17 UK top 40 albums to date in a career spanning four decades, the Stranglers are one of the longest-surviving and most "continuously successful" bands to have originated in the UK punk scene.

Formed as the Guildford Stranglers on 11 September 1974 in Guildford, Surrey, they originally built a following within the mid-1970s pub rock scene. While their aggressive, no-compromise attitude identified them as one of the instigators of the UK punk rock scene that followed, their idiosyncratic approach rarely followed any single musical genre and the group went on to explore a variety of musical styles, from new wave, art rock and gothic rock through the sophisticated pop of some of their 1980s output.

From 1976 the Stranglers became associated with the burgeoning punk rock movement, due in part to their opening for the first British tours of American punks the Ramones and Patti Smith. Notwithstanding this association, some of the movement's champions in the British musical press viewed the band with suspicion on account of their age and musical virtuosity and the intellectual bent of some of their lyrics. However, Burnel was quoted saying, "I thought of myself as part of punk at the time because we were inhabiting the same flora and fauna ... I would like to think the Stranglers were more punk plus and then some."

The band's early albums, Rattus Norvegicus, No More Heroes and Black and White, all released within a period of 13 months, were highly successful with the record-buying public and singles such as "Peaches", "Something Better Change" and "No More Heroes" became instant punk classics. Meanwhile, the band received a mixed reception from some critics because of their apparent sexist and racist innuendo. However, critic Dave Thompson argued that such criticism was oblivious to the satire and irony in the band's music, writing: "the Stranglers themselves revelled in an almost Monty Python-esque grasp of absurdity (and, in particular, the absurdities of modern 'men's talk')." These albums went on to build a strong fan-following, but the group's confrontational attitude towards the press was increasingly problematic and triggered a severe backlash when Burnel, a martial arts enthusiast, punched music journalist Jon Savage during a promotional event.

So not without some controversy and scandal, as it is with all bands worth their musical and social salt. In case you missed them during their formative years, here is a taste of what you might have missed or perhaps forgotten about, from their September 13, 1977 sessions for the legendary John Peel.

Crank it up and enjoy.
The Desperate Bicycles In Session - 1978 - Past Daily Soundbooth Desperate Bicycles - maybe obscure to some - but pioneers to most.



The Desperate Bicycles - In Session for John Peel - recorded July 4, 1978 - BBC Radio 1 -

The Desperate Bicycles tonight. A good chance you may never actually have either heard them or heard about them. They weren't together for very long. But . . .

The Desperate Bicycles were an English punk band who released a series of independent recordings in the late 1970s and inspired many other bands to do likewise. They pioneered the do-it-yourself ethic of punk, adopting a proselytising role exemplified by their ardent exhortation: "it was easy, it was cheap – go and do it!". The group have been described as "DIY's most fervent evangelists".

The music of the Desperate Bicycles has been described as: "Spindly, fuzzy, guttural guitars through puny amplifiers, reedy, wheezy organs, out of tune electric pianos, cardboard box drums and monotonous declamatory yet somehow utterly reasonable sounding vocals". Another reviewer described them as "a shambling wreck of a psychedelic post-punk band". The writer Simon Reynolds states that the group's music "was almost puritan in its unadorned simplicity, its guitar sound frugal to the point of emaciation".

For the Desperate Bicycles, it was as though sloppiness and scrawniness became signs of membership in the true punk elect. The very deficiency of traditional rock virtues (tightness, feel) stood as tokens of the group's authenticity and purity of intent.

They were a group of amateur musicians who remained determinedly independent. Their enjoyment of the creative and technical processes of making music is revealed in their recordings. The example they set, their energy and enthusiasm and the simple message of "go and do it!", inspired a generation of punk and post-punk bands to follow in their footsteps, in both the UK and further afield.

So next time people start talking about DIY (Doing It Yourself), you will know exactly where that phrase came from and you can give a gesture of thanks to the members of The Desperate Bicycles for starting it all.
Rich Kids In Session - 1977 - Past Daily Soundbooth Rich Kids - with a former Sex Pistol and soon-to-be Ultravox and later Visage members - a stepping-off place.



Rich Kids in session for John Peel - October 31, 1977 - Broadcast - November 7, 1977 - BBC Radio 1 -

Rich Kids - another short-lived band from the Punk/Post-Punk/New Wave period. Rich Kids sported former Sex Pistol founding member Glen Matlock, and future Ultravox front man Midge Ure and Rusty Egan who both went off to found Visage.

From their well-researched Wikipedia Page:
Rich Kids were formed in 1977 by bass player Glen Matlock after he left Sex Pistols. An early line-up consisted of keyboardist and guitar player Bill Smyth, Rusty Egan on drums, Steve New on lead guitar, and The Clash's Mick Jones, who acted as a session live player. Glaswegian Midge Ure, whose band Slik had split up and reformed as the punk sounding PVC2, moved to London and joined Rich Kids. Smyth left the group followed by Jones, who continued with The Clash.

Rich Kids recorded their first set of radio sessions on 31 October 1977 for the 7 November broadcast of BBC Radio 1, hosted by DJ John Peel. Following on 13 January 1978, they were ranked at #24 on 4 February UK Charts with their first self-titled single "Rich Kids". This caught more attention from the BBC, who invited them to perform on Top of the Pops and several more sets for the short-lived live music TV series Revolver hosted by Peter Cook.

On 22 March, they recorded a further session for John Peel's 3 April broadcast. Another single, "Marching Men" was released on 19 May as means to promote the release of their album produced by Mick Ronson. Despite taping a video promo for Donnie Sutherland and After Dark, the song did not chart. At their Lyceum show in spring 1978, Ronson played guitar and Ian McLagan (ex-Faces) played keyboards. Several of the band's performances were featured in the 1980 film D.O.A..

Matlock and New later played with Sid Vicious in the short-lived band Vicious White Kids.

Both the single and the album of Ghosts of Princes in Towers was released in August, with the latter ranking only at #51. Their last TV appearance was at the University of Reading where they taped a live show for Rock Goes to College on 27 October.But the band ran into creative differences as they recorded demos for a second album. Having acquired a synthesiser, Ure, alongside bandmate Egan, wanted to integrate the new instrument into the band's sound while Matlock and New preferred to remain with traditional guitars and drums. This resulted in the group's decision to go their separate ways.

Matlock and New went on to tour with Iggy Pop, while Egan and Ure formed a band called The Misfits (not the American horror punk band Misfits) and, after short spells with Skids and Thin Lizzy, respectively, reunited in Visage. In April 1979, Ure joined Ultravox.

On 7 January 2010, the band played a one-off reunion concert at The O2 Academy Islington, London in aid of Steve New. New died from cancer on 24 May 2010.

On February 2016, it was announced that Rich Kids, with Gary Kemp on lead guitar and James Hallawell on keyboard, would reform for a joint headline show with The Professionals at London’s O2 Shepherds Bush Empire for 16 May. The show was rescheduled for 23 June due to the ongoing structural work at the venue.
In case you missed them, here is their first session for John Peel - from October 1977.


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Bikini Kill - Live In Los Angeles - 1994 - Past Daily Soundbooth Bikini Kill - Riot Grrrl pioneers.



Bikini Kill- Live at Jabberjaw, Los Angeles - July 4, 1994 - Band soundboard - Gordon Skene Sound Collection -

Continuing our week of Riot Grrrls with Bikini Kill, live at Jabberjaw in Los Angeles and recorded on July 4, 1976.

From their well-written - well-researched - well put-together Wikipedia Page:
Bikini Kill was an American punk rock band formed in Olympia, Washington, in October 1990. The group consisted of singer and songwriter Kathleen Hanna, guitarist Billy Karren, bassist Kathi Wilcox, and drummer Tobi Vail. The band is widely considered to be the pioneer of the riot grrrl movement, and was known for its radical feminist lyrics and fiery performances. Their music is characteristically abrasive and hardcore-influenced. After two full-length albums, several EPs and two compilations, they disbanded in 1997.

Bikini Kill formed in Olympia, Washington, in October 1990, by Kathleen Hanna (vocals), Billy Karren (guitar), Kathi Wilcox (bass), and Tobi Vail (drums). Hanna, Vail, and Wilcox met while attending Evergreen College in Washington. Hanna also published a fanzine called Bikini Kill for their first tours in 1991. The band wrote songs together and encouraged a female-centric environment at their shows, urging women to come to the front of the stage and handing out lyric sheets to them. Hanna would also dive into the crowd to personally remove male hecklers. Such male concertgoers would often verbally and physically assault Hanna during shows when the tickets were still inexpensive and easily procured. However, the band's reach included large male audiences as well as young women.

Fellow riot grrrl musician, Lois Maffeo originally adopted Bikini Kill as a band name, inspired by the 1967 B-movie The Million Eyes of Sumuru. She and her friend Margaret Doherty used the name for a one-off performance in the late 1980s where they donned faux fur punk cave girl costumes. Vail liked the name and appropriated it after Maffeo settled on the band name Cradle Robbers.

After an independent demo cassette, Revolution Girl Style Now!, Bikini Kill released the Bikini Kill EP on the indie label Kill Rock Stars. Produced by Ian MacKaye of Minor Threat and Fugazi, the album began to establish the band's audience. The band's debut album, Pussy Whipped, was released in September 1993. Bikini Kill toured in London, England to begin working with Huggy Bear, releasing a split album, Our Troubled Youth / Yeah Yeah Yeah Yeah, and touring the UK. The tour was the subject of a documentary film by Lucy Thane entitled It Changed My Life: Bikini Kill In The U.K. Upon their return to the United States, the band began working with Joan Jett of The Runaways, whose music Hanna described as an early example of the Riot Grrrl aesthetic. Jett produced the single "New Radio"/"Rebel Girl" for the band, and Hanna co-wrote several songs on Jett's Pure and Simple album.

By the following year, Riot Grrrl was receiving constant attention in the media, and Bikini Kill were increasingly referred to as pioneers of the movement. Hanna called for a "media blackout" amongst Riot Grrrls, as they felt the band and the movement were being misrepresented by the media. The pioneer reputation endures but, as Hanna recalls, " very vilified during the '90s by so many people, and hated by so many people, and I think that that's been kind of written out of the history. People were throwing chains at our heads – people hated us – and it was really, really hard to be in that band."

The band's final album, Reject All American, was released in 1996. After the band's breakup in 1997, a compilation of singles recorded between 1993 and 1995 was released in 1998 under the name The Singles.
One of the important bands of the 90s, during a decade overflowing with innovation and new ideas, as well as important voices in music and social consciousness. Further evidence the 90s were far from dull.

Blast it and enjoy it.
The Beloved In Session - 1985 -Past Daily Soundbooth The Beloved - early-on, Jangly Guitar-driven Post-Punk - then an abrupt turn for the Techno.



The Beloved - In Session for John Peel - recorded October 13, 1985 - Broadcast October 24, 1985 - BBC Radio 1 -

The Beloved, from an early incarnation of the band, recorded for John Peel on October 13, 1985 and broadcast on October 24th. The Beloved are an English electronic group best known for the singles "Sweet Harmony", "The Sun Rising", "Hello", "Your Love Takes Me Higher", and "Satellite". However, this incarnation is prior to their step into Electronica - this is early-on Beloved, when they were guitar-based and bordered on Jangle with an emphasis on Post-Punk.

From their Wikipedia page:
In 1983, Jon Marsh (who played drums for Twelfth of August in 1982) placed an advertisement in the music press, which read as follows:

"I am Jon Marsh, founder member of the Beloved. Should you too wish to do something gorgeous, meet me in exactly three year's time at exactly 11am in Diana's Diner, or site thereof, Covent Garden, London, WC2."

Meanwhile, he met Cambridge University graduate Steve Waddington when he joined Twelfth of August as an additional guitarist (other members were Steve Seale (Barrington) and John Seale).

At the initial meeting between Marsh and Waddington in 1986, Tim Havard was also present, and the three formed the core of a band named The Journey Through (the name taken from a line of the song "Heaven in Love", written by Steve Seale and Jo Caney). When Guy Gausden later joined the band, the group changed their name to The Beloved. The band originally had a guitar-oriented sound, but soon began using drum machines and dance music elements. They sounded at times like post-punk/dance group New Order, and a summation of this stage of their career can be found on their first studio album, Where It Is, which is a compilation of previously released material, consisting of singles and related B-sides, pressed onto one individual long playing work. The record includes all the early singles, "A Hundred Words", "This Means War", "Happy Now", and the double A-side "Surprise Me" / "Forever Dancing", all released between 1986 and 1987, all on Where It Is, all making the Top 30 in the UK Indie Chart, and all failing in the UK Top 75.

After slimming down to a duo consisting of Marsh and Waddington only, The Beloved began to embrace a dance sound more wholeheartedly and, in 1988, after another flop with another double A-side single, "Loving Feeling" / "Acid Love", the single "The Sun Rising" became a club favourite, and crossed over to the UK Singles Chart, peaking at number 26 in the UK in November 1989. "The Sun Rising" featured a sample of "O Euchari" as sung by Emily Van Evera; a sample also used by trance group Orbital on their tune "Belfast". This was followed in 1990 by their second album, Happiness, the first and only album the band released as a duo, and the first consisting wholly of previously unreleased new songs, from which the hit single "Hello" was also released. "Hello" became The Beloved's first international hit, and reached Number 19 in the UK. This song features rather peculiar lyrics, mostly consisting of names of real or fictitious people, groups and institutions, representing the band's most important and varied influences (from religion with Saint Peter and Saint Paul, to music with Kym Mazelle, literature with Jeffrey Archer and cartoons with Flintstones). The LP included two more singles, "Your Love Takes Me Higher," which made the UK Top 40 on its second release, and the final cut, "Time After Time", which was only a minor hit in Great Britain, failing at Number 48.

A brand new song, "It's Alright Now", which also failed to make the Top 40, stopping at Number 46 in the UK, was released to promote a remix album, titled Blissed Out, released in 1991. Almost all of the songs from the Happiness album were featured on Blissed Out in one or more remixed versions, along with another mix of "It's Alright Now," and some previously unreleased instrumental tunes. The work was released in 3 different editions, varying in length and track listing, depending upon the format: the vinyl LP, the shortest, includes 8 tracks; the CD version features 11 songs; and the MC edition contains 16 remixes.

"It's Alright Now" and Blissed Out were the last works made by Marsh with Waddington at the time. By 1991 Waddington had left the group, and was replaced by Marsh's wife, Helena Randall, who was working as a purchaser for the Parisian fashion house Comme des Garçons, for the third studio album, Conscience. The band faced some controversy for the video of the first new single, "Sweet Harmony," which consisted of a naked Jon Marsh, among a group of women, also naked (although it was shot and edited so as not to show anything which might cause it to be censored). One of the nude stars of this video is the television presenter Tess Daly. "Sweet Harmony", which was originally used to promote the second season of the popular American soap opera Melrose Place in several European countries, has since been used in advertising for British home improvement chain Homebase as well.
But as I said, this is all before their switch to Electronica - this is The Beloved early-on - and you may not recognize them this way - but this is how they started.

Enjoy.
Basement 5 In Session - 1980 - Past Daily Soundbooth Basement 5 - not your average Punk/Reggae/Fusion mash-up. No way.



Basement 5 - in session for John Peel - recorded April 21, 1980 - broadcast April 28, 1980 - BBC Radio 1 -

Ending up the week with Basement 5, another short-lived but highly influential band from the late 1970s/early 1980's. Basement 5 were one of the first, if not THE first band to mash-up Punk/Reggae and Fusion and was one of the bands heavily dealing with social/racial issues during the Thatcher era.

From their Wikipedia Page:
Their first vocalist was Winston Fergus, then Don Letts. One of their early performances was a support for Public Image Ltd.'s London debut at the Rainbow on Christmas Day 1978. Finally in 1979 Dennis Morris - photographer of Bob Marley and the Sex Pistols, took over as creative force, lead vocalist and lyricist. He also designed the Basement 5 logo and created their image. The drums were played by Richard Dudanski, who had played in the bands 101ers, The Raincoats and Public Image Ltd. Their songs reflected the political situation of the time in Great Britain in the era of Margaret Thatcher: youth unemployment, strikes, racism and the poverty of the working class.

In 1980 they got signed to Island Records with vocalist Dennis Morris. The new line up played its debut gig at Clarendon Hotel in London (19 March 1980), followed by a set at Camden's Music Machine (now called Koko) at an all night gig hosted by ZigZag magazines editor Kris Needs on 31 March 1980 along with numerous other artists such as John Cooper Clarke, Killing Joke and The Only Ones also recording a Peel Session on 21 April 1980, aired on 28 April and their debut, self-produced single, "Silicon Chip," on 26 May. Following this, they recorded their début album, 1965-1980, with record producer Martin Hannett, releasing it on 11 August. On the first day of recording the album, the existing drummer known as Anthony "Bigga" Thompson walked out of the session. The band was in shock. Having just finished touring with Ian Dury and The Blockheads who they became very friendly with, they then used their drummer "Gentleman" Charles Charles of the Blockheads for the album.

Hannett, in an interview with Dutch music magazine Oor in 1981, said, "You have to play it very loud to enjoy it fully. It was the most difficult production, I must say, the heaviest. It was eighteen degrees in the shade, the end of August. As I recall it has been the most physical album that I've ever done. Made me feel like I'd been carrying bricks around. Heavy work. Putting the bass lines in the right place. But it was good."

The sessions also yielded dub versions of several of the main tracks, released on 31 October as In Dub. "Last White Christmas" was released in time for Christmas (1 December), as a 12" and 7" (the latter in Christmas wrapping paper with a silver sticker of the band logo). The band broke up shortly thereafter, with several members forming Urban Shakedown.
Ironically, shortly after leaving Basement 5, Don Letts began directing music videos for Limelight (I know - he was my boss at the time when he worked in L.A.) and turned in some memorable performances before folding up his Directors Chair and heading over to Big Audio Dynamite. One of the good people with a lot of talent who had a knack for pushing the envelope, thankfully he has a show on BBC 6 Music. Just makes perfect sense he would be in a band like Basement 5.

Crank it up and get ready for the weekend.
Department S In Concert - 1981 - Past Daily Soundbooth Department S - Named after the hit 1960s TV series of the same name.



Department S - In Concert - Dec. 19, 1981 - BBC Radio 1 -

Department S in concert tonight, recorded by BBC Radio 1 for their In Concert series on December 19, 1981. Department S are a British post-punk/new wave band formed in 1980, who took their name from the 1960s TV series Department S. They are best known for their debut single, "Is Vic There?", which was originally released in December 1980 and reached No. 22 on the UK Singles Chart the following year.

Department S evolved from a previous punk/ska combo, Guns for Hire, fronted by Vaughn Toulouse and also featuring former Madness drummer John Hasler. Mike Herbage joined them on guitar and wrote Guns for Hire's only single, "I'm Gonna Rough My Girlfriend's Boyfriend Up Tonight", released on the Korova record label. The group then became Department S with the addition of bassist Tony Lordan, drummer Stuart Mizon and keyboardist Eddie Roxy (born Anthony Edward Lloyd-Barnes).

They debuted at the Rock Garden in London on 24 September 1980. Demon Records released their debut single, "Is Vic There?", in December 1980. It was produced by former Mott the Hoople members Buffin and Overend Watts. The B-side, a cover version of T.Rex's "Solid Gold Easy Action", featured Thunderthighs on backing vocals.

"Is Vic There?" began to climb the UK Singles Chart, reaching No. 22. The single's initial success led to the better-equipped RCA Records reissuing the single in March 1981. This edition, featuring a remix by David Tickle, reached No. 67 on the Hot Dance Club Play chart, and the band appeared on Top of the Pops.

The group defied easy categorisation, but recorded a session for John Peel on 3 December 1980. The tracks featured were "Is Vic There?", "Age Concern", "Ode to Cologne (Stench of War)" and "Clap Now".

In early 1981, Roxy was replaced by Mark Taylor. The band's second single, "Going Left Right", was issued on 19 June 1981 on Stiff Records (after the label had rejected "Clap Now") and failed to chart as high, although it received positive reviews. Stiff also released "Is Vic There?" in the US.

Department S began recording a debut album, Sub-Stance, in 1981 with Tickle producing, but the sessions were divisive and Lordan left, replaced partway through by Jimmy Hughes (formerly of the Banned, Cowboys International and Original Mirrors). A third single, "I Want", was released by Stiff in November 1981. Modest sales as well as differences of opinion with the label resulted in the band being dropped by Stiff, but not before £50,000 was reputedly spent on the unreleased album, which Stiff refused to part with.

After a London concert on 18 March 1982, Herbage left, and the band split several months later.

In February 2007, a reunited Department S (guitarist Herbage, drummer Mizon and former keyboardist Roxy, now on vocals) recorded their first new single in 26 years, a cover version of Alvin Stardust's 1973 hit "My Coo-Ca-Choo", with guest musicians Mark Bedford of Madness on bass, Terry Edwards on brass and Michelle Brigandage on backing vocals. It was released on Sartorial Records in October. Several other new tracks were recorded at that time, including "Wonderful Day" (which included guest contributions from Edwards, Glen Matlock and Marco Pirroni) and "God Squad Saviour" (with John Keeble of Spandau Ballet guesting on drums).

This concert, sharing the bill with The Jam, is Department S early-on, a year after their debut and still pretty fresh and energetic. Crank it up and hear for yourself.
Gang Of Four - Live At Indian Summer 2006 - Past Daily Soundbooth Gang of Four - arguably one of the single most influential Post-Punk bands of the late 70's/early 80s.



Gang Of Four - Live At Indian Summer 2006 - BBC 6 music - September 3, 2006 - BBC 6 Music -

Gang of Four to kick off the week. Arguably, one of the most influential and important bands of the Post-Punk movement of the late 70s/early 80s.

Their music brought together an eclectic array of influences, ranging from the neo-Marxist Frankfurt School of social criticism to the increasingly clear trans-Atlantic punk consensus. The band was named by a member of the Mekons while driving around with Gill and King when he came upon a newspaper article on the intra-Party coup against China's "Gang of Four".

They became a major influence to a number of successful alternative rock acts throughout the '80s and '90s, although few of their followers were as arty or political. R.E.M. frontman Michael Stipe cites Gang of Four as one of his band's chief influences; Flea of the Red Hot Chili Peppers has stated that Gang of Four were the single most important influence on his band's early music. Kurt Cobain stated that Nirvana started as "a Gang of Four and Scratch Acid ripoff". Their debut album Entertainment! was ranked 13th in Kurt Cobain's list of his 50 favorite albums in his journal. Andy Kellman, writing in AllMusic, has even argued that Gang of Four's "germs of influence" can be found in many rap metal groups "not in touch with their ancestry enough to realize it".

The band plays a stripped-down mix of punk rock, funk and dub, with an emphasis on the social and political ills of society. Gang of Four are widely considered one of the leading bands of the late 1970s/early 1980s post-punk movement. Their debut album, Entertainment!, was ranked as fifth greatest punk album of all time and at Number 483 in Rolling Stone's 500 Greatest Albums of All Time. The album was listed by Pitchfork Media as the 8th best album of the 1970s. Their early 80s albums (Songs of the Free and Hard) found them softening some of their more jarring qualities, and drifting towards dance-punk and disco. David Fricke of Rolling Stone described Gang of Four as "probably the best politically motivated band in rock roll."

This concert, recorded at the Indian Summer Festival on September 3, 2006, comes in the middle of their first reunion, which featured the original founding members of the band. In 2006, either before or after this gig, drummer Hugo Burnham left the group and was replaced by Mark Heaney.

No question - this is vintage Gang of Four - so you owe it to yourself to crank this one up.
Swell Maps In Session - 1978 - Past Daily Soundbooth Swell Maps - anticipating Post-Punk - ahead of their time by many weeks.



Swell Maps in session for John Peel - October 17, 1978 - BBC Radio 1 -

Swell Maps and our ode to the dawn of Post-Punk this evening. Influenced by the disparate likes of T. Rex and the German krautrock outfit Can, they created a new soundscape that would be heavily mined by others in the post-punk era. Despite existing in various forms since 1972, Swell Maps only really came together as a musical entity after the birth of British punk.

Consisting of brothers Epic Soundtracks (real name Kevin Paul Godfrey) and Nikki Sudden (real name Adrian Nicholas Godfrey) two Solihull based teenagers, plus Biggles Books (Richard Earl), Phones Sportsman (David Barrington), John "Golden" Cockrill and Jowe Head (Stephen Bird), the band cut the single "Read About Seymour" as their debut in 1977, soon after the brothers left Solihull School. It is widely considered one of the classic punk era singles, and is name-checked in the song "Part Time Punks" by Television Personalities.

After recording their first John Peel session Swell Maps went into WMRS studio to record their first album A Trip to Marineville, which was released in 1979. It featured hard rocking punk numbers like "H.S. Art" interspersed with ambient instrumentals and other experimental interludes like "Gunboats". The album went No. 1 on the new Independent chart.

The band cut one more album, The Swell Maps in 'Jane From Occupied Europe', in 1980: it featured a variety of genres, from industrial surf instrumentals like the opener "Robot Factory" to ballads like "Cake Shop Girl".

The next year, the band released compilation Whatever Happens Next... before splitting up.

This session, from October 17, 1978, was their first for John Peel and it signaled a harbinger of things to come. If you missed them the first time around - or have only now just discovered them - they were a very underrated and overlooked band of the period, and thanks to preservation, they are being rediscovered by a whole new generation of fans.

Good news.

Play loud.
Mega City 4 In Session - 1988 - Past Daily Soundbooth Mega City 4 - Punk with a Pop Edge - or is it Pop with a Punk edge?



Mega City 4 - In session for John Peel - July 19, 1988 - broadcast, August 2, 1988 - BBC Radio 1 -

Mega City 4 in their first session for John Peel tonight. Together initially from 1987 until 1996 and then a reunion in 2006, until fate had a different plan when founding member, vocalist and lead Guitarist Wiz collapsed and died of a brain clot in December of 2006, effectively ending what was intended to be a reunion.

Characterized as Punk with Pop leanings, according to Uncut magazine, the group "earned a reputation across the globe as an exciting live band".

The band toured extensively in the UK, Europe and North America, working with bands including Les Thugs, Ned's Atomic Dustbin, Carter The Unstoppable Sex Machine and Doughboys, amongst many others. The band's second studio album, Who Cares Wins (1990), was followed by a compilation album of their early 7" singles, called Terribly Sorry Bob (1991). The band subsequently moved to a major record label to record two further studio albums, Sebastopol Rd. (1992) (recorded by Jessica Corcoran at London's Greenhouse Recording Studios) and Magic Bullets (1993). After falling out with their record label, they moved to Fire Records to record their final studio album, Soulscraper (1996). In addition to their studio albums, the band also released a live album, a Peel Sessions disc, and a number of singles. The British music journalist, Martin Roach, wrote a biography of the band, "Mega City Four: Tall Stories and Creepy Crawlies", published in 1993.

The band had been together for over a decade when they broke up in early 1996. Wiz moved to Montreal, Quebec, Canada and joined Canadian alternative rock band, Doughboys.

This session comes just after the release of their debut single/ep, Miles Apart/Running in Darkness which was released in March of 1988, and a little under a year before the release of their debut album, Tranzophobia which was issued in June of 1989.

With seven albums to their credit, there's a lot to dig into. This session is a good place to start if you aren't familiar.

And as always, play loud.
The The - Live At Brixton Academy - 1993 - Past Daily Soundbooth The The - Back up and running and hitting the road (photo: Chris Buck)



The The - live at Brixton Academy 1993 - BBC Radio 1 In Concert Series - BBC Radio 1 -

The The to start the week. Admittedly, the band's name was a little off-putting. And from the looks of it, I am not in the minority on that one. But . . . .they have become a very successful venture since their Punk beginnings in 1979. Color me shallow.

In November 1977, singer/songwriter Matt Johnson placed an advertisement in NME, asking for "Bass/lead guitarist into The Velvet Underground/Syd Barrett". Johnson later placed a second advertisement in the NME, stating his new influences as "The Residents/Throbbing Gristle".

While trying to get his band going, in 1978 Johnson had recorded a demo solo album (See Without Being Seen) which he continued to sell at various underground gigs on cassettes. In 1979, working with Colin Lloyd-Tucker (a friend and colleague at De Wolfe Music, the Soho music publisher/recording studio) Johnson recorded his first album proper, Spirits. This album remains unreleased, although the album track "What Stanley Saw" was later licensed to Cherry Red Records for their Perspectives Distortion compilation album, which also featured Virgin Prunes, Lemon Kittens, Thomas Leer, Kevin Coyne and Mark Perry.

The The made their debut at London's Africa Centre on 11 May 1979, third on the bill to Scritti Politti and PragVEC, using backing tape tracks that Johnson created at his day job at De Wolfe studios for the drums and bass. The band at this point consisted of Johnson on vocal, electric piano, guitar and tapes and Keith Laws on synthesizer and tapes. It was Keith Laws who suggested the name 'the The' to Matt Johnson.

As the The was now getting underway, Johnson was simultaneously working with experimental synth-pop combo The Gadgets, a studio group he formed with Colin Lloyd Tucker, his colleague at De Wolfe recording studios.

Peter Ashworth, then known as 'Triash' and later to become a noted photographer, became the The's drummer in 1980, and Tom Johnston (also managing The The at this point and later to become a cartoonist for the Evening Standard, Daily Mirror and The Sun newspapers) was added on bass. Although both Ashworth and Johnston were credited with appearing on The The's debut single ("Controversial Subject"/"Black and White") on 4AD Records neither actually played on the recordings, which were produced by Wire members Bruce Gilbert and Graham Lewis. All instruments were played by Johnson and Laws. Johnston and Ashworth soon dropped out of the The and returned to their respective day jobs. As a duo (Johnson and Laws), The The began performing concerts with Wire, Cabaret Voltaire, DAF, This Heat, The Birthday Party and Scritti Politti.

In early 1981 The The also contributed the composition ‘Untitled’ to the Some Bizzare Album. In September of that year Johnson and Laws signed a deal with Some Bizzare Records and released the 7" single "Cold Spell Ahead". By this stage Matt Johnson had begun playing all the instruments himself so Laws left to pursue his studies, leaving Johnson as a solo artist using a group moniker.

Johnson was signed up later in 1981 to 4AD Records by Ivo Watts-Russell to record a solo album, Burning Blue Soul. Although all of the instruments and vocals were performed by Johnson, the album featured various producers including Wire's Bruce Gilbert and Graham Lewis, Ivo and Johnson himself. Years later, owing to a request from Johnson, so that all of his albums would be in the same rack together, it would be re-issued and credited to The the.

The The released their official album debut, the synth-noir classic Soul Mining, in 1983. It featured the minor UK No. 71 hit "This Is the Day", as well as a new recording of The the performing "Uncertain Smile". Produced by Johnson and Paul Hardiman, it featured guest appearances from Orange Juice's drummer Zeke Manyika, Jools Holland, Thomas Leer and J. G. Thirlwell (aka Foetus).

During the The's more prolific period of releases, from Soul Mining (1983) to Dusk (1992), most artwork used on the albums and single releases was produced by Johnson's brother Andrew Johnson, using the pseudonym Andy Dog. The artwork has a distinctive style, and sometimes courted controversy, most notably the initial release of the 1986 single "Infected" which featured a masturbating devil and was withdrawn from sale and re-issued with an edited version of the same drawing.

For the 1986 album Infected, the The still consisted only of Johnson, but was augmented by session musicians and featured friends such as Manyika and Rip Rig + Panic singer Neneh Cherry. This album spawned four charting singles in the UK, notably "Heartland", which made the UK Top 30. It was also unusual for having a full-length accompanying film. Costing hundreds of thousands of pounds, Infected: The Movie was shot on locations in Bolivia, Peru and New York. Different songs were directed by different directors, mainly Tim Pope and Peter 'Sleazy' Christopherson (of Throbbing Gristle).

Throughout 1986-1987 Johnson toured the world extensively with Infected: The Movie, showing the film in cinemas in place of performing live concerts. The film was also shown twice in its entirety on Channel 4 in the UK and on MTV's 120 Minutes in the US.

After a few false starts, The The have reunited and are currently releasing new material.

To refresh your memory, here is a gig they did at The Brixton Academy in 1993. And who was playing on it:
Matt Johnson - vocals/Guitar
Jim Fitting - Vocals/Harmonica
Keith Joyner - Vocals/Guitar
DC Collard - Vocals/Keyboards
Andy Kubiszewski - Drums **
Jared Michael Nickerson - Vocals/Bass
** replacing Dave Palmer, who left to join up with Rod Stewart.
As for the week - so far, so good.
Magazine - Live At Electric Proms; The Roundhouse - 2009 - Past Daily Soundbooth Magazine - A much anticipated and enjoyed reunion in 2009



Magazine - Live at The Roundhouse - Electric Proms 2009 - BBC 6 Music -

Magazine. One of the cornerstone bands of the Post-Punk/New Wave genre from the late 1970s until disbanding in 1981. In that relatively short period of time they were a substantial influence on bands all through the 80s and beyond.

Howard Devoto formed Magazine in Manchester, shortly after he left Buzzcocks in early 1977. In April 1977, he met guitarist John McGeoch, then an art student, and they began writing songs, some of which would appear on the first Magazine album. They then recruited Barry Adamson on bass, Bob Dickinson on keyboards and Martin Jackson (previously of the Freshies) on drums, forming the first lineup of the band. After signing to Virgin Records, Magazine played their debut live gig at the Rafters in Manchester on 28 October 1977.

"Motorcade" co-writer Dickinson, whose background was in classical and avant-garde music, left shortly after several gigs in late 1977. In early 1978, the band released their first single, "Shot by Both Sides", a song Magazine recorded as a quartet. It featured a guitar-bass-drums sound similar to punk rock. Shortly after the single's release, Dave Formula, who had played with a briefly successful 1960s rock band from Manchester called St. Louis Union, joined as keyboardist. "Shot by Both Sides" used a chord progression suggested by Pete Shelley, which was also used in the Buzzcocks track "Lipstick". The Magazine single just missed the UK Top 40. The band, with Formula on keyboards, made its first major TV appearance on Top of the Pops in February 1978, performing the single.

Following a British tour to promote their debut album Real Life (which made the UK Top 30), Jackson left Magazine in late July. He was replaced briefly by Paul Spencer, who performed with the band for gigs across Europe and some television appearances, including The Old Grey Whistle Test, where they played "Definitive Gaze". Spencer quit partway through the tour, joining the Speedometors shortly afterwards. He was replaced in October by John Doyle, who completed the Real Life promotional tour and remained in the band.

Magazine's second album, Secondhand Daylight, was released in 1979, reaching the UK Top 40. The album featured a greater use of synthesisers. That same year, McGeoch, Adamson and Formula joined electronic project Visage, recording and releasing the single "Tar".

During the 1981 recording of the band's fourth studio album, Magic, Murder and the Weather, Devoto quit in May of that year, months before its release, and the remaining members decided to disband. Magic, Murder and The Weather was very much considered a breakthrough album for the band in the U.S., with About The Weather receiving considerable airplay via FM. But sadly, there was no band to follow through.

This 2009 reunion, which contained some different personnel (guitarist McGeoch died in 2004) was enthusiastically received by audiences,and this Electric Proms gig, recorded by BBC 6 Music, gives ample evidence they were missed.

Magazine's music continues to be an influence today. While rooted in the punk and new wave movements, Magazine combined elements of avant-garde and pop. Radiohead in particular draw on the lyrical style of the group, and have performed "Shot by Both Sides" in concert. Morrissey, a fan and acquaintance of Devoto's, covered "A Song from Under the Floorboards" as a B-side to his 2006 single "The Youngest Was the Most Loved". "Floorboards" was also covered by My Friend the Chocolate Cake on their 1994 album Brood. Half Man Half Biscuit have performed live covers of a number of Magazine songs. "The Light Pours Out of Me", from Real Life, has been covered by the Mission, Peter Murphy, Sleep Chamber, Zero Boys, and Ministry. Swedish punk band No Fun at All did a cover of "Shot by Both Sides" on their record And Now for Something Completely Different. Devoto co-wrote two songs with Mansun, "Everyone Must Win" and "Railings", contributing vocals to the latter, and the band later covered "Shot by Both Sides" for John Peel Sessions. In issue 66 (May 2011) of Bass Guitar magazine Duff McKagan cited Magazine's album Real Life as an influence, particularly on tracks where McKagan uses a chorus effect. Johnny Marr cited Magazine as one of his main influences when promoting his debut solo album, The Messenger in 2013.

No lightweights, at all.

(Special thanks to Wikipedia for supplying additional information - support them).
The Fall In Session - 2004 - Past Daily Soundbooth: Tribute Edition The Fall - a Peel favorite - no less than 24 sessions. Or as Peel would say: "Always different - Always the same".



The Fall - in session for John Peel - August 4, 2004 - BBC Radio 1 -

More sad news this week. It was announced earlier today that The Fall's founder/lead-singer/irascable icon Mark E. Smith passed away, after a long illness. He was 60.

There was a reason John Peel produced some 24 sessions with The Fall - as he put it "they are always different - they are always the same". They were never boring and it was often said you never saw the same performance twice. One night they would be the worst band on the planet and the next night, or even next set, they were the most brilliant, awe-inspiring band on earth.

The key to the whole thing was Mark E. Smith, whose cryptic lyrics and dark humor prompted critic Simon Reynolds to describe Smith's work as "a kind of Northern English magic realism that mixed industrial grime with the unearthly and uncanny, voiced through a unique, one-note delivery somewhere between amphetamine-spiked rant and alcohol-addled yarn".

Although The Fall never achieved mainstream success, they were one of the most influential bands to come out of the post-Punk era. Influencing groups and artists such as Pavement, Arctic Monkeys, Happy Mondays, Guided by Voices, Sonic Youth, Franz Ferdinand, Steve Albini, These New Puritans, LCD Soundsystem, the Long Blondes, Meat Puppets, Faith No More, Will Oldham, Hole, and the Kills and most likely countless others. Sonic Youth covered three Fall songs (and "Victoria" by the Kinks, also covered by the Fall) in a 1988 Peel Session, which was released in 1990 as an EP, 4 Tunna Brix, on Sonic Youth's own Goofin' label. The 1990s indie acts Pavement (who recorded a version of "The Classical") and Elastica (Smith contributed vocals to their final EP and album) showed an influence of the Fall, while Suede parodied the band with "Implement Yeah!", a song found on the cassette edition of their 1999 single "Electricity". Suede's frontman Brett Anderson subsequently described Mark E. Smith as a "huge, huge influence".

In a year that has already seen more than it's share of loss, the loss of Mark E. Smith is especially poignant because he represented the ones unwilling to compromise and to play it safe. Instead to do it on their own terms, maintain their own vision, to become what one critic described as "one of the most enigmatic, idiosyncratic and chaotic garage bands of the last 30 years".

That's what it's all about - always was, and always will be.

A debt of gratitude for your vision Mr. Smith. You pointed the way.
Franz Ferdinand - Live In Liverpool - 2003 - Past Daily Soundbooth Franz Ferdinand - and snagging fistfuls of Music Awards was nothing to sneeze at either.



Franz Ferdinand - Live at Liverpool - 2003 - BBC 6 Music - Gordon Skene Sound Collection -

Franz Ferdinand this week. From a concert performed in Liverpool in 2003, the same year they released their debut ep, which was originally intended to be self-released, but which got picked up by the Indie label Domino Records and quickly got the interest started.

Almost from the get-go, they were considered the band to watch. Formed in 2002, By November of 2003 they got nominated for an NME Award and it would be the start of a long string of successful albums and Music Industry Awards for this Scottish Indie congolomerate.

In January 2004 the single "Take Me Out" reached No. 3 in the UK charts. The album, Franz Ferdinand, was released in early 2004, debuting at No. 3 in the UK Albums Chart in February 2004, and at No. 12 in the Australian album charts in April 2004. The album only reached the lowest levels of the Billboard 200 album charts in the US as of early 2004, but reached the top 5 of the indie rock chart and the Heatseeker chart for debut artists. After a couple of North American tours and heavy rotation of the "Take Me Out" video on MTV, the album eventually reached No. 32 on the Billboard 200 later in 2004, and sold over a million copies in the United States.Franz Ferdinand received a generally strong positive response from critics. NME rated it 9 out of 10, and said that the band was the latest in the line of art school rock bands featuring The Beatles, The Rolling Stones, The Who, Roxy Music, the Sex Pistols, Wire, Travis, and Blur.

On 7 September 2004 the album was awarded the 2004 Mercury Music Prize. "Take Me Out" gained first place in the Australian Triple J Hottest 100 for 2004, winning more than twice the votes of the second-place entry, with This Fire and The Dark of the Matinee entering at No. 24 and No. 50 respectively. Franz Ferdinand won an Ivor Novello Award in 2004 and two BRIT Awards in 2005. The avant-garde music video for "Take Me Out" earned them a Breakthrough Video MTV Award. NME named Franz Ferdinand the best album of 2004, and placed it 38th on their 100 Best Albums of All Time list.The band performed "Take Me Out" as a live medley with Los Lonely Boys, Maroon 5, The Black Eyed Peas, and Gwen Stefani at the 47th Annual Grammy Awards in 2005, in which "Take Me Out" was nominated for Best Rock Performance by a Duo or Group with Vocal and Franz Ferdinand was nominated for Best Alternative Album. "Take Me Out" was featured on the video games NHL 2005, Madden NFL 2005 and the breakthrough game Guitar Hero. The album has sold around 3.6 million copies worldwide.

Some sixteen years after first getting together, they are still at it, with no signs of letting up. And their fifth studio album, Always Ascending is slated for release in February of this year.

In all that time they have maintained an Indie/Post-Punk approach to their sound. But in recent years they've shifted away from that to a more Dance-Oriented style, and had a successful collaboration with the L.A. band Sparks with whom they toured several festivals in 2014 and 2015 as FFS and Sparks.

This concert is early Franz Ferdinand. It's suggested you crank it up.
Wand In Session - 2018 - Past Daily Soundbooth Wand - Things are looking up in L.A.



Wand in session for Marc Riley - Jan. 22, 2018 - BBC 6 Music -

Wand, in session from only a few hours ago, as part of the Marc Riley program from BBC 6 Music.

Much as I like running older or more obscure sessions from artists and bands, finding a band who cut a session only hours earlier is worth the price of admission.

Wand are, ironically, a band from L.A. - strange how you have to go over 5,000 miles to hear a band from practically your own neighborhood.

Wand are very exciting, and with four albums to their credit, they have just begun a major European tour starting with this live BBC 6 Music date. So when I ran across this session from earlier today, I had to post it tonight, ahead of several stops around the UK, including a stint at my pal Mig Schillace's Louisiana Club in Bristol, before heading over to The Continent for a series of gigs and concerts there.

Although it would be very easy to classify them as one of the New-Psych bands currently on the scene, they are heading into different and potentially more complex territory, admittedly citing Captain Beefheart and His Magic Band as a major influence, among many others. Previously, some of the band members have been associated with Ty Seagall's backup band The Muggers, before being recruited into the ranks of Wand.

Together since 2013, and initially forming as a bunch of students from CalArts, Wand have gotten considerable word-of-mouth going in their native Los Angeles and their albums have been critical successes. Not necessarily successful sales-wise, but that's all a matter of time.

You may not have heard of them, or have been too overwhelmed by the avalanche of albums issued and other artists to really give them notice. I have a feeling that's all going to change over the next few months.

So, to get idea of what Wand is all about, here is a sample by way of a BBC 6 Music Session for Marc Riley.

(Relatively) New Bands on the horizon - play loud and remember their names.
The Damned - Punk Christmas Party - 2017 - Past Daily Soundbooth The Damned - Things may come and things may go, but the Damned are forever.



The Damned - Live At Steve Lamacq's Punk Christmas Party - Dec. 17, 2017 - BBC 6 Music -

The Damned to kick off the week. Recorded live at the BBC's Maida Vale Studios during Steve Lamacq's Punk Christmas party at BBC 6 Music, recorded yesterday (December 17). And a splendid time was guaranteed for all.

Without question, The Damned have been one of the cornerstones of Punk and have maintained that position lo, these 40 some years. With a few personnel changes over the years, the core of the band is intact, as is the energy and sheer velocity during all that time.

More than The Sex Pistols, The Damned were the ones who pioneered the frantic energy and made Punk a genre of considerable merit and social upheaval. My fondest memory is hearing their debut single New Rose for the first time in 1976 and being blown away by the sheer power that was crammed onto the grooves of that 45. Never heard anything like it.

And over the years, despite all the changes and genres that have come and gone, The Damned have kept the spirit very much alive and the fans have never left.

So it was only natural that they headline this BBC 6 Music special, from Steve Lamacq to remind everyone who got it started and who's keeping it going.

UK Fans need absolutely no prodding, but if you're on this side of the Atlantic, and just getting into what is going on as far as Radio throughout the world in concerned, BBC 6 Music is, hands down, the best advocate for contemporary, past and experimental Rock anywhere and is run by people who love it and know it backwards and forwards. You simply don't get this width and breadth of musical exposure in one place in any station in America - forget the commercial stations, the mainstream stations and even the Public Radio stations. 6Music is a treasure trove of new and pivotal music. They stream 24 hours a day - and I urge you to check it out, bookmark it and keep it on all day and all night.

That's just me. Enjoy The Damned while you're at it. And Ho-Ho-Ho!
Minny Pops In Session - 1980 - Past Daily Soundbooth Minny Pops - Dutch ultra-Post-Punk. Was there any other kind?



Minny Pops - in session for John Peel - November 12, 1980 - BBC Radio 1 -

Dutch Post-Punk/Art-Punk/New Wave band Minny Pops in session for John Peel tonight. Broadcast on November 12, 1980, Minny Pops were the first Dutch band to do a Peel session and this is the first, and only session the band did for Peel.

With two studio albums to their credit, Minny Pops tenure didn't last all that long (7 years, which is an eternity to some), but they did become associated with the Ultra-Post-Punk movement in The Netherlands and generally had a good following in Britain and the Continent.

They were opening band for Joy Division during their European tour in January 1980, which brought them to the attention of Factory Records and a label deal. Strongly reminiscent of The Normal (who gave the world Warm Leatherette and TV o.d.), they were primarily electronic and also toured with Scritti Politti, Au Pairs and Comstat Angels. They did a brief seven city tour of the U.S. - and generally got positive reviews, even though America was having a hard time digesting Punk before it had to dive into Post-Punk, they went over well.

By the end of 1981, the band stopped touring, doing their final live performance in December of 1981, but they still continued to record. Their follow up album, Sparks In A Dark Room was released in May of 1982. It was not a commercial success, and it got tepid reviews at first. But over the years it's been revisited and has lately been considered a lost classic.

Although they toured the U.S. once, and got very little airplay here, aside from underground/college FM, they are most likely a band you're not familiar with. With a blend of cold detachment and clinical sound they may not have registered high on many playlists. But it's important to note that Minny Pops have gone on to achieve cult status, being cited by several as the ground floor to Industrial Dance Music and Dark Wave.

Have a listen.
It's 1981 - You're A Teenager - You Live In L.A. - You're Determined To Find The Heart Of Saturday Night - It seemed like a good idea at the time . . . .



Freddie Snakeskin - KROQ - July 2, 1981 - Gordon Skene Sound Collection -

The endless quest for Saturday night - the night above all nights, when all the planets align and everything is possible. You're in your last semester of High School - it's your town. You have fake i.d. - you get into clubs - you suck on a few too many Colt 45's and the dance floor erupts into one big mosh-pit. A Free-for-all with feet and arms flying and bodies bouncing up, down and sideways, slamming into people you don't know, who don't care - they slam back. The guy in front of you jumps up on stage, turns around and dives into the crowd. Unfortunately, his head connects with your nose and you both fall over like bricks. You and the guy are laughing your asses off. The girl next to you looks at you and yells "You better get that looked at!!" You don't know what she's talking about. You run up to the stage and start to climb over the monitor. The bass player yells; "hey man, you're fucked up". Next thing you remember, you're being carried across the room. The girl who was standing next to you is putting paper towels on your face and the waitress is throwing ice water on you. You haven't a clue what's going on - but you're having a great time. You hope Saturday night never ends.

And then there's Sunday - Can't breathe out of your nose - can't see out of your eyes. There's dried blood in your hair and your mother screams at you about being grounded until you're 18 and how you'll wind up in prison some day just like your cousin. You reek of Bactine, which is a whole lot better than the beer-soaked vomit on your shirt.

And you can't wait for next Saturday night.

The 80s - when all bets were off and the 70s were dress rehearsals. Radio was still your lifeline, and like a lot of people in L.A., you were addicted to KROQ. As a reminder - here is 45 minutes worth of Freddie Snakeskin from July 2, 1981.


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Tuxedomoon In Concert - 1979 - Past Daily Soundbooth Tuxedomoon - with new bassist Peter Principle joining in the mayhem.



Tuxedomoon - in concert at The Boarding House - December 1979 - Ralph Records Release party - KALX-FM - Gordon Skene Sound Collection -

San Francisco post-Punk/experimental band Tuxedomoon, live at The Boarding House, and part of the Ralph Records release party from December, 1979.

Tuxedomoon had been together since 1977, but fortunes changed for the band when they signed to Ralph Records (the label that gave the world The Residents), and this concert was part of the Ralph Records release party showcasing them as well as other Ralph acts, and also signaled the release of their debut single, No Tears. In addition, it marked one of the first appearances of newly enlisted bass player Peter Principle, who would be a pivotal figure, not only for Tuxedomoon, but as an artist in his own right.

They are still together, however Peter Principle passed away in June of this year in Brussels.

Crank it up and have a listen.
And while you're doing that - we're in the middle of our annual Past Daily Fall Fundraiser - that couple of weeks where we pitch and cajole and beg for your Tax-deductible contributions so we can keep Past Daily up and running, pay the website designers and repair some of the broken and obsolete equipment we use for the digitizing process. We're not asking for much - just what you are comfortable with contributing - $20.00 or the price of a cup of coffee or a movie ticket - whatever you feel up for. But the important thing is to make your contribution and show your support. We've had some wonderful responses the last few days and many of you have written in to say how much you enjoy what we do here. Well, we love doing it too - and the 12-14 hours a day we spend putting up posts and preserving and restoring all this audio, is something we really believe in. So please, do what you can. Click on the link right here: (Past Daily's Fall Fundraiser) and contribute what you can. You won't be sorry and we will love you for it!
Restricted Code In Session - 1981 - Past Daily Soundbooth Restricted Code - Short-lived and "Band Most likely to . . . " split up early.



Restricted Code - in Session for John Peel - March 10, 1981 - broadcast March 17, 1981 - BBC Radio 1 -

A band which may not register with many American listeners (unless you had your ears to the ground and were a regular listener to John Peel, somehow in the early 80s). Came and went in a virtual flash - together since 1978 and broken up by 1981. A band that had a lot of critical praise going for them, even designated "Band Most Likely To . . ." by the Music Newspaper NME.

It wasn't enough to keep things together - so after one ep and two singles, plus this solitary John Peel session, they called it quits in 1981.

It wouldn't be so bad if this was an isolated incident - you could chalk it up to bad luck, personality clashes, record company falling asleep at the switch, bad production, lousy management - but no, the life and death of Restricted Code is more the norm than the exception. And that is just the sad fact about the world of music. Especially now.

And most people forget that. Most people forget that the majority of bands together today won't be together this time next year. It's always been that way. Restricted Code were much better than many of the bands around at the time - they were respected and encouraged by the Press, they were getting good word-of-mouth going by way of opening for bands like Human League. But they just didn't make the leap, and it was frustrating - and with frustration you take things out of people, usually the ones closest to you, and in this case, it most likely explains the friction between band members toward the end.

And if there was a formula, a combination, a series of steps a band could take that would ensure their success, they would become an essential element in becoming an artist. But no such formula or combination exists - it's up to a series of circumstances and flukes - and becoming a success in this business is sometimes more predicated on miracles and circumstances than on talent.

All that said, Restricted Code only managed to do one Peel session and it's worth a listen if you aren't already familiar. Luckily, the thing about Music is that there's a good chance much of it has survived, and that means there's always an opportunity to make a discovery. So it comes to pass that a lot doesn't go unnoticed - the nice part of history.
You're 16 - You Live In L.A. - It's 1979 - And Larry Woodside Has Your Back Maybe a long time ago, but yes . . .you were 16 once.



KROQ - Larry Woodside - Hour 2 - 9:00 - 10:00 am - February 28, 1979 - Gordon Skene Sound Collection -

"I never looked that young" - "I can't believe I got stoned that young" - "They actually let me drive that young?"

In answer to those timeless questions; yes, you did look that young. You did get stoned that young, or even younger. And yes, you worked like a dog to get your learner's permit and fail the drivers test twice before they let you have a license. You were all those things. And you survived.

We forget. The kids in that picture are 16 - they really are - they're 16 and it's 1979. And it's L.A. and it's High School. Yeah; we were that young then - we looked that way then. We wanted to look like magazines. We wore clothes we cringe over now. Hair, we had no idea about, but spikey was something we saw a lot of. We knew there was a world out there, and things were going on. But our world was small - our world was how well our clothes fit or if he or she would talk to us, or even knew we existed. Yeah, we were shallow. But the real world was waiting for us, just around the corner. The grey hair and the dark circles under our eyes would show up soon enough. We were having what was known as a Rite of Passage; where we go from the realm of the absolutes ("it's the absolute best/worst it will ever be!") to the realm of the unknown, the uncertainties of the day to day overnight. That was light years away - the days were known to crawl by and we couldn't wait.

But at least we had music, and even that was changing - but at least we could trust the radio.
In answer to a boatload of requests, here is the second hour of that Larry Woodside Aircheck from KROQ, which I ran part One of last week. It ends with Psycho Chicken by The Fool - which pretty much summed up 1978.
Enjoy.

And don't worry - in 2027 they'll be saying the same thing about being 16 in 2017.
You're A Teenager - You Live In L.A. - It's February 1979 - The Future Is Bright. KROQ Says So - . . .and the future looked so bright, you needed shades.



KROQ - Larry Woodside - 8:00 am - 9:00 am - February 28, 1979 - Gordon Skene Sound Collection -

February 1979 - okay, it's almost over; the 70s that is. Strange decade. Started off barefoot and going to Grateful Dead concerts - by 1979, you cut your hair, you discovered Dippity-Do, skinny ties and black jeans. Your Eagles albums got traded in at Aron's for The Clash. Your friends are telling you about The Jam as they run down Wilshire screaming "This Is The Modern World!" You saw The Specials at the Whiskey A-go-go. KROQ is your go-to radio station and every button on your car radio is set to it. You take to wearing buttons - the new one says "Boring Old Farts", and as always, you live for the weekends.

You have an older brother who graduated the same high school you did, only in 1969. He thinks the music you like is bullshit and your hair looks stupid. He listens to Spyro Gyra and Linda Ronstadt - he moved out of the house five years earlier. You're glad.

Most mornings during the week you stagger off to school. You're the proud owner of a 1967 Barracuda, but the car stereo you installed yourself in Auto Shop has a busted speaker on the drivers side. You listen to Larry Woodside in the morning, even though there's a buzz that drives you up the wall, especially on Mondays when you've had two hours sleep. But nothing stops you from getting your morning dose of wakeup tunes. It gets you ready for First Period Gym class.
Here's an hours worth of Larry Woodside from KROQ, as broadcast from 8-9 am on February 28, 1979. By the end of the year, even KROQ wouldn't be the same. Everything was changing and the 80s were just around the corner and a whole of lot uncertainty over the future that wasn't there in February. Funny how a few days can change things. History's just like that.

In lieu of your car stereo, crank this one up and head back in time.
You're A Teenager - It's 1978 - You Live In L.A. - Thanksgiving Is Just Around The Corner, And Frazer Smith Is At The End Of The Dial . . . and L.A. City Schools Food is never going to change - ever.



KROQ - Frazer Smith Show - 7:30-8:30 pm - Nov. 24, 1978 - Gordon Skene Sound Collection -
This is the year things started to change in L.A. - Punk and New Wave, which everybody "in the know" knew about for a couple years, was now an acknowledged piece of local Pop Culture and the popularity was spreading. Newspapers were also popping up - The L.A. Reader and L.A. Weekly were all over the place, talking about the hip new enclaves where "those in the know" hung out. Everybody talked about The Atomic Cafe and the place was jammed on the weekends. The food was kind of awful, but it was better than lunch at school most days.

You still believed in The Starwood - even though you weren't actually old enough to drink, you had really great fake i.d. that said you were 23 and most people believed you - the ones who didn't, you didn't want to know about anyway. You're still a Van Halen fan, even though they've hit the big time - but you can say you knew them when they were regulars at The Starwood. Now all your friends are talking about Madame Wong's in Chinatown. 1979 is going to be amazing.
Radio was changing the landscape of Los Angeles in the late 1970s. After KROQ's disastrous entry in the early 70s as a sort of Top-40 FM station, the station went through a period where they could no longer afford to pay the disc jockeys. And so many of them worked for free, or very little, in exchange for playing whatever they wanted - the spirit of freeform radio of the late 60s was now back with a vengeance in the late 1970s. And so KROQ became this collection of unhinged, eccentric and off-the-wall personalities and it proved to be hugely successful.

One of the most unhinged was Frazer Smith, whose haywire trips into the world of the unexplainable became something of a benchmark for KROQ's reputation - along with a decidedly Punk/New Wave playlist, the unorthodox delivery and verbal mayhem made for addictive listening. And it was the perfect soundtrack for a city going through "the change".

Here is an hour's worth of Frazer Smith, from 7:30-8:30 pm on November 24, 1978.
The Jam In Concert - 1981 - Past Daily Soundbooth The Jam - Casually referred to as "Britain's Greatest Band".



The Jam - In Concert at Golders Green - December 19, 1981 - BBC In Concert Series - BBC Radio 1 -

The Jam in concert tonight. One of the bands that epitomized Punk and Mod revival, The Jam were huge throughout the UK and the rest of Europe. Why they didn't achieve the same level of mania in the States that they did back home is a mystery. But the mid/late 70s in music was a far-flung and often schizo affair that had a seemingly endless barrage of genres all vying for audience attention. And it may have been that the U.S. was finally digesting The Clash, when another band came along with just as strong an appeal and it was just too much. The U.S. took to Punk a lot later than the UK, and even then it was looked at differently. In the UK it was political and social - here it was a style and the political/social implications of The Jam fell on deaf ears for the most part. I remember when Who Is The Five O'Clock Hero? came out, and friends were hard-pressed to get the message contained in the grooves. Much the same way The Specials' Ghost Town didn't register the same way here as it did in London.

But even if you paid no attention to the social consciousness of the lyrics, The Jam as a musical entity were a breath of fresh air, and their music was well thought-out and strongly structured enough to stand on its own. And for that reason alone, they deserved better recognition than what they got over here at the time.

All that said, the upside of having things committed to vinyl (or CD), means there is no sell-by date to the music; it's waiting for discovery by people who never heard it before, or heard about it but missed it the first time around.

The Jam have stayed fresh and vital - the world hasn't changed, it has in many ways gotten worse - and the message is more imperative than ever.

Crank this one up and enjoy it.
Flop - Live And In Session 1993-1994 - Past Daily Soundbooth Flop - safe to say they were one of the criminally underrated and overlooked bands of the Seattle scene of the 1990s.



Flop - live at CBGB - August 12, 1993 - In Session for VPRO, Netherlands -February 1994 - Gordon Skene Sound Collection -

Flop to end the week. One of the most criminally underrated and overlooked bands of the Seattle scene in the 1990s. Together for only 5 years, but long enough to record three albums, release eight singles and take part in two compilations. Flop displayed every ingredient to become a milestone band during a time when Seattle was the mecca of new and exciting music.

So why didn't they make it? Lots of opinions and speculation. Rowdy shows, onstage drunkenness and smashed instruments - enough to warrant getting 86'd from several clubs between Seattle and Vancouver. When they signed to a major label (Epic) and recorded the masterpiece Whenever You're Ready, they ran afoul of the corporate brass, who promptly buried the album, so it got virtually no marketing or promotion - and because of that, they were dropped by Epic.

But they did several tours of both clubs and concert halls, opening for The Lemonheads and Screaming Trees, and got a following. But the abrupt departure of founding member, drummer Nate Johnson signaled the end of the band and they called it a day in 1995.

Precious little exists of the band live, and in good sound. There may be other recordings around, but they haven't surfaced and the only two I have is one from a gig at CBGB in New York in August of 1993 and the second, a session in The Netherlands for VPRO in February of 1994. They give a pretty good glimpse of the band in a live setting, but they don't take the place of their studio efforts which may or may not still be in print. If you aren't familiar with them (and I suspect there may be more out of you out there not familiar with them than familiar with them), give this short sample of three songs a try. During their tenure they were given generally positive reviews - but one review, by J.D.Considine for the Baltimore Sun said the band were "too idiosyncratic to be lumped in with what most people think of as 'the Seattle sound'", to which I disagree totally. I thought they were great.

You may feel different - have a listen and decide for yourself .
Generation X In Concert - 1978 - Past Daily Soundbooth Generation X - known these days primarily as the band that got Billy Idol started.



Generation X - In Concert at The Paris Theatre, London 1978 - BBC Radio 1 In Concert Series -

Generation X in concert. Starting just as Punk was getting started, Generation X was the first band to play the legendary Roxy Club - the legendary nightspot responsible for launching the careers of a number of Punk artists in the late 1970s. With three albums to their credit and a string of singles before they packed it in and called it a night, Generation X has come to be best remembered by many as the band that got Billy Idol started. Right after the demise of Generation X, Billy Idol emerged and became a household name as a solo artist - it also helped that MTV was just getting rolling in 1981 and Billy Idol became a mainstay.

This concert captures them early on - recorded at the BBC's Paris Theatre in London by Radio 1's In Concert series in 1978. A lot of energy, but most of the vocals are painfully off-key. Not that it seemed to bother anybody at the time, but in retrospect and listening to it before posting it, had me climbing the walls. But that's my problem.

At any rate. Generation X were a band just as much a part of the Punk Movement and just as visible as the others who made a mark for themselves during that frantic time. It's interesting to compare them during this concert and how they evolved by the time they released Dancing With Myself in 1980 - the single that got huge airplay on KROQ in Los Angeles and pretty much established them over here. But even by 1980 the music was going through further changes and morphing into other things.

If you remember Generation X at the time, this concert may ring a few bells. If you missed them completely - they are part of history and you need to know about them.

Class dismissed.
The Specials In Concert - 1979 - Past Daily Soundbooth The Specials - Danceable Ska with Punk's attitude.



The Specials In Concert - 1979 - BBC Radio 1 - In Concert Series - BBC Radio 1 -

Kicking off the week with a concert via The Specials, recorded for BBC Radio 1's series In Concert. The Specials represented a breakthrough of sorts. They mixed danceable Ska, the Jamaican Music genre made popular in the 1960s, with Punk sensibilities of the 1970s. And the result was a wildly successful band, during Punk's heyday.

Because they represented the White Working Class along with the Jamaican/West Indian Population in London at the time, they signaled a new genre looming on the horizon, one that entertained on the surface, but carried with it a highly charged message of social change. It was the political climate at the time that made them so popular to many - they represented racial diversity in a band at a time when movements such as Rock Against Racism were gathering popularity across England.

The Specials have been together, on and off since 1977, their longest stretch was from 1977-1984. But they have had reunions since then - and are currently together, albeit with a few personnel changes, still performing and gigging around Europe and the UK.

Although they were very popular in their native UK, they were less well-known on this side of the Atlantic. Possibly because audiences over here were still processing Punk and all the connotations, and The Specials represented a new look, meaning a whole other genre for the American audience to get behind.

This concert, recorded in 1979 for the BBC Radio 1, puts the band during their peak period and the beginning of a string of top 10 singles between that year and 1981 when three of the founding members left the band to form Fun Boy Three.

Their fourth incarnation began in 2008 with several personnel changes, but the essence of the the band is still there and continues to this day.

But to get an idea of what they were all about in 1979, check this concert out and play it loud.
Depeche Mode In Concert - 1982 - Past Daily Soundbooth Depeche Mode - Hot on the heels of their debut, Speak Spell.



Depeche Mode - in concert at The Paris Theatre, London - February 10, 1982 - BBC Radio 1 In Concert series -

Depeche Mode tonight. Hot on the heels of their debut album Speak Spell, which was issued in October of 1981, this concert, from February of 1982, comes right after founding member and keyboard/guitarist/writer Vince Clarke left the band (in November of '81). Replacing him, initially on a temporary basis, was Alan Wilder, who I believe makes his debut with this appearance.

Together for an astonishing 37 years, Depeche Mode have undergone a number of personnel changes. But the core of the band have remained pretty much intact all this time. A highly regarded and celebrated band, whom Q Magazine have referred to as "one of the 50 bands that changed the world". They have released some 14 studio albums, 10 compilation albums, 6 live albums, 8 box sets, 13 video albums, 71 music videos and 54 singles. The band have sold over 100 million records worldwide. Depeche Mode have had 50 songs in the UK Singles Chart, one US and two UK number one albums.

They are frequently praised by the music press; they became "the most popular electronic band the world has ever known" according to Q magazine, "one of the greatest British pop groups of all time" according to The Sunday Telegraph, and "the quintessential eighties techno-pop band" according to Rolling Stone and AllMusic Depeche Mode were ranked No. 2 on Electronic Music Realm's list of The 100 Greatest Artists of Electronic Music, ranked No. 158 on Acclaimed Music's list of Top 1000 Artists of All Time.

But this concert is before all that - this concert finds them making the rounds, promoting their debut album, which would be certified Gold. The beginnings of a great track record for this band. Captured for posterity by BBC Radio 1 for their In Concert series, it's clear from the first few notes that this band is different than most.

Play loud.

I always say that. I mean it this time.
The Fratellis - Live At Reading 2008 - Past Daily Soundbooth The Fratellis- Friday night and high voltage: they go together just like Mashed Potatoes and Gravy.



The Fratellis - live at Reading Festival 2008 - BBC 6 Music -

The Fratellis to end the week. Don't know why, but I realized it's been almost 4 years since I did a post on one of my favorite bands of recent years. I always liked their high-voltage energy, and was genuinely sad to hear they had gone on indefinite hiatus in 2009. Thankfully, it didn't stay indefinite and the band have been actively back together since 2012.

Lots going on with them right now - they recorded a new album in L.A. in April - are hitting a couple of Festivals this summer, including an appearance at the Summer Sonic Festival in Shanghai China, and generally staying busy until November.

This concert, from the 2008 Reading Festival comes on the heels of the release of their second album, Here We Stand, which was also issued in the U.S. accompanied by a tour, which included sold out shows in New York, Boston and L.A. - the crowd at Reading are certainly primed and ready and the concert is a high-point of the Festival. In addition to the BBC broadcast of the Reading show, their June show in San Francisco at The Fillmore was eventually issued on DVD as part of a deluxe edition of Here We Stand, which was issued in December of that year.

One of the better high-energy bands to come along in the first decade of the new century, they've taken Indie and mixed it up with Garage and Post=punk into a stew of accessible music across the board and certainly warranted their Best New Band of 2007 award from BBC Radio 1.

Since they've been back, they definitely rate as a "must-see" band on your list of upcoming concerts. And in the meantime, you really have to play this one loud. it's okay - it's Friday night anyway.
Pink Fairies In Concert - 1971 - Past Daily Soundbooth Pink Fairies - one of those bands that did a lot of influencing via the Underground.



Pink Fairies - in concert at The Paris Theatre, London 1971 - Hosted by John Peel - BBC Radio 1 -

Pink Fairies tonight. A band which may not register a whole lot with people on this side of the Atlantic, but were one of those underground mainstays in the UK, who were very much a part of the Psychedelic outgrowth of the early 70s and who went on to be huge influences with a number of Punk Bands in the later 70s.

If there was one song The Pink Fairies did that could constitute as an anthem for a decade, it would hands-down be "Do It" - a song with the indelible lyrics "Don't talk About it - Just Do It!" that served as a wake-up call to the 70s and pretty much described the atmosphere of the times. Sadly, it's not included in this concert.

But like a lot of bands at the time, structure wasn't a forté - as is evidenced here, during this 1971 BBC Paris Theatre concert, hosted by none other than John Peel. Solos go on forever - songs turn into jams and the whole thing drifts off into a cloud of feedback and drum solos. And that's why there's only three songs on this set.

If anything, that was the big problem with the early 70s - and was 90% of the reason bands from the Punk era took the Fairies social stance, but compacted the music into 2 minute excursions and ramped everything up a few hundred revolutions. Still, Pink Fairies represented a certain blow against the status quo which appealed to a lot of people, even in 1971. Taken as part of a scene at the time - a scene which included The Deviants (fronted by radical figure and social anarchist Mick Farren and first incarnation of The Pink Fairies which included the legendary former Pretty Things drummer Twink), Hawkwind, later Motorhead and a number of bands, groups, gatherings and social movements which eventually culminated in the dawn of Punk.

All good stuff, but not what you would consider on its surface the harbinger of groups like The Damned with anthems like New Rose a few short years later. The Damned, by the way, were hugely influenced by The Pink Fairies.

So it all fits - it's an interesting puzzle, one where all the corners aren't rounded out and fit in easily - but it fits.

Start with Never Never Land and begin your Pink Fairies adventure there -it's all around, waiting to be discovered.
The Vibrators In Session - 1977 - Past Daily Soundbooth The Vibrators - Pure Mania was one of the 50 best Punk albums of all time.





The Vibrators - In Session for John Peel - June 13, 1977 - broadcast June 22, 1977 - BBC Radio 1 -

The Vibrators tonight. One of the first wave of Punk Bands to descend on an unsuspecting public (well . . .mainstream public anyway), The Vibrators first came to light in that watershed year of 1976, backing Chris Spedding, who in turn introduced them to the legendary Mickie Most where they were signed to Most's Rak label and where he produced their first single, We Vibrate, along with backing Chris Spedding on his single, Pogo Dancing.

This was their second session for John Peel - their first, from 1976 puts them in a period of evolution; breaking away from Hard Rock and embracing Punk as the genre of the future. They were one of the first bands to play the legendary Roxy Club in London, which became Ground Zero for the Punk movement.

By the time this session was recorded they had released their debut album, Pure Mania, which went on to become a classic, and even listed in the Guinness Encyclopedia of Pop Music as one of the 50 best Punk albums of all time. In March of that year they were supporting Iggy Pop's UK tour, and later in the year were the backing band for Ian Hunter.

The Vibrators enjoyed a string of successes which lasted all the way to the early 80s, when tastes began to change and Punk was giving way to New Wave. Still, they had a loyal and vocal following and it has served them well ever since. The Vibrators are still a touring, working band - even though they have gone through numerous personnel changes to the point where the only original member left is drummer Eddie Edwards.

Here is a taste of what the fuss was all about, when Punk was new and bands were snotty.
Artery In Session - 1982 - Past Daily Soundbooth he Artery - Part of that hot-house of strange and creative bands from Sheffield in the 80s.



Artery - in session for John Peel - January 30, 1982- Broadcast February 15, 1982 - BBC Radio 1 -

Artery in session for John Peel tonight. If we had the Internet in 1980, and we were able to have the kind of access to bands now that we didn't have then, I think the direction of music might have gone in far more interesting places than what was being offered via the mainstream and MTV, at least in the U.S.. I'm not saying what was the then-current state of Pop music was crap, but the thing about music is that it only stays vital when it's constantly reaching and experimenting and trying. And when you don't know what other people are doing, the other movements that are afoot, you're a little isolated and you feel as though there is a stagnation going on, when what is really going on is mainstream music's desire to play it safe and not run risks - and only after a movement has gained enough attention via the underground (Like Punk, like Rap, like Disco, like Techno, like Madchester), is it then presented to a mass audience - and sometimes it's co-opted and approximated and the essential organs are removed and a state of Musical Cryogenics takes place. And sometimes it's just ignored and written off as being "just too fucking weird".

I'm saying all that because in 1982 I wasn't familiar with Artery - and I was pretty good at keeping my ears to the ground. But being in L.A. and the scene evolving in Sheffield fell off my radar. That's why I say if we had the Internet, or the equivalent of a John Peel over here, things might have been different.

But nevertheless - Artery were one of the initial Post-Punk bands to come out of Sheffield in 1978; a scene which was likened to a hot house of musical invention and innovation - a meeting place of the strange and wonderful. The Sheffield scene gave us Human League and Cabaret Voltaire - and those bands we knew about, but Artery, not so much. And listening to this session, their second (and last) session for John Peel recorded in 1982, gave me the feeling I really missed something the first time around.

Artery were initially together from 1978 to 1985 when they dissolved, went separate ways, did new things and just ceased. But during that time they issued four albums and eight singles. And it was in 2007 that Jarvis Cocker of Pulp coaxed the band to come out of retirement and pick up where they left off. The result has been two additional albums, a reissue of all their past albums and a renewed interest in the band from people who never heard them in the first place (like me) or just weren't around at the time.

Artery has wound up being one of the influential bands of the early 80s Post-Punk period as well as a band who have also become influential with the current crop of bands. A nice distinction, and further proof if you seem a little too weird at the time, the world will eventually catch up.

And people have caught up.

Here's their second session for John Peel as it was recorded on January 30, 1982 and broadcast on February 15th of that year.
Repetition In Session - 1981 - Past Daily Soundbooth Repetition - 3 singles and being mistaken for a Belgian post-Punk band only added to the confusion.



Repetition - in session for John Peel - August 6, 1981 - broadcast August 17 - BBC Radio 1 -

Repetition in session for John Peel tonight. Only together from 1979-1983, they released three singles and appeared on several Belgian compilation albums, leading many to think Repetition was a Belgian Post-Punk band. But no, they were from London and consisted of Pete Petrol formerly with the band Spizzoil on guitar, Drummer Tim Transe, keyboard player A.S.D.H (or Andy Hooper), bassist AWOL (aka: Nicholas) and Sarah Osbourne, vocals.

This session, the only one they did for Peel, was recorded on August 8th and broadcast on the 17th of August. This incarnation features Steve Musham, guitar/vocals - bass and guitar Jim Solar - Tim Transe on drums and Andy Hooper on keyboards.

Shortly after that they recorded their third and last single and called it a day.

Unfortunately, there is scant information on the band or whether they were critically well received or not - apparently they were, since John Peel showed enough interest to book the band into Maida Vale for this 4 song session. But like so many bands during this period; they came and went at almost warp-speed - not long enough to stage a breakthrough or even get noticed by critics in the U.S.

As far as I can tell, the band members went their separate ways, Pete Petrol joined Altered Images and the whereabouts of the others is unclear. Keyboard player Hooper did pass away in 2012.

Why they didn't breakthrough is a mystery, as it is with many bands and the baffling nature of Rock and the fan base.

I seriously doubt if that many people are familiar with Repetition. What they did, they did well and this Peel session offers ample proof of that.

In any event, crank it up and see what happens.
The Lucys In Session - 1981 - Past Daily Soundbooth The Lucys - The Sound of Brixton and anything was possible.



The Lucys - in session for John Peel - March 3, 1981 - BBC Radio 1 -

The Lucys in session for John Peel to end the week. Not that I've been purposely focusing on bands that had a brief flourish and then vanished, but truths to tell, there's a lot of bands out there that, for one reason or another, got lost in the shuffle. Bad timing, nonexistent or non-compos mentis management or just rotten luck. Whatever the reason, it points up to the fact that having a successful band, like having a successful anything (book, painting, movie - you name it) has as much to do with sheer dumb luck as anything else. Talent, it seems, is not a high priority, but that mysterious conspiracy of circumstances often is.

So here we have The Lucys. A band formed in the Brixton district of London, much around the same time as Scritti Politti, The Clash and The Thompson Twins. Practiced a lot, gigged a certain amount - toured with The Au Pairs and The Thompson Twins and caught the ear of John Peel and his producer John Walters. They were suitably impressed enough with their demo to drag them into the studios at Bush House where they recorded these four tracks on March 3, 1981 and broadcast several days later. Peel even went as far as airing an appeal to any record label worth its salt to sign the band. They did get a bite from Cherry Red Records - and over a period of time recorded a full albums worth of tracks. But the kicker to the deal was one of the above mentioned Management snags and Cherry Red fading into the distance, never making good on their interest. And subsequently the ensuing squabbles and resentments put an end to the legacy that may have been The Lucys.

However - and now we cut to almost 30 years later, word from Lucys guitarist Pete Boyse that, in fact the fabled Lucys album has finally been released, albeit in a limited edition of 200 copies, from Detour Records, an independent label dedicated to saving, preserving and informing.

As a reminder and an introduction if you aren't familiar, here is that Peel session from March 3, 1981.
The Frames In Session - 1981 - Past Daily Soundbooth The Frames - a band so obscure no photos of them exist.



The Frames - in session for John Peel - February 24, 1981 - Broadcast March 2, 1981 - BBC Radio 1 -

The Frames tonight - a band who only released one single and had two other songs issued as part of a compilation album. The Frames were a four-piece from Portsmouth who apparently got started in 1978 and consisted of: Sue Jones on vocals, Nick Radford on guitar, Mike Marshfield on bass and Stephen Wood on drums.

They only did one session for John Peel - this one, which was recorded on February 24, 1981 and first broadcast on March 2nd.

After considerable research and digging around, I have come to the conclusion that no photos of the band exist and this lone single was issued via their own Independent label, Brain Boosters, which also had another band, The Attic as part of their roster. Other than that, nothing.

So, with only one official single - two tracks on a compilation album and one session for John Peel, what makes this band so special? Nothing, aside from the fact that the songs they play in this session are catchy as hell and why there wasn't more done with them is a mystery. A Google search brings up nothing for the individual members and how long the band was together and what they later became or if they even stayed in the music business.

The irony is - there are more of these bands than the ones who became sensations, or proved to be highly influential or who went on to greater things. The bands that started off with a lot of promise, had attractive songs and who also had the support of someone like John Peel, who brought them into the studio to record them, and than vanished.

Maybe that's more the rule than the exception - with the current climate of every band and singer and every artist, no matter what genre, either available via Soundcloud or have their own YouTube channel, you realize there is a serious flood of talent out there now - more than possibly any other time in history. It only seems more likely that there are more bands like The Frames than are not. And the possibilities of becoming that "band with a lot of promise" and not much else, is high on most musicians lists.

But in case you were wondering about the ones who should have made it, who had all the ingredients and who had support and their own label, here is a classic example of one of those cases.

You might want to crank this one up.

p.s. - anyone with any information or photos would be most appreciated by just about everybody.
The Swell Maps In Session - 1980 - Past Daily Soundbooth Swell Maps - DIY before it became a virtue.



The Swell Maps - In session for John Peel - March 18, 1980 - BBC Radio 1 -

The Swell Maps tonight. A band that got started in 1972, yet really didn't gel until 1977. They had been influenced by the likes of T. Rex and Krautrock and were, by all accounts, devotees of what became known as DIY (Do It Yourself), and many have said foreshadowed Punk by several years. Although, by the time they actually became a full-fledged band, Punk was already well on to the musical landscape.

But they did do a lot in the area of Soundscape which did provide the basis for a lot of Post-Punk to come later. Still, they were active from 1977 until 1980 - released two albums and had a compilation in the works at the time of splitting up and went on to pursue solo careers.

Swell Maps consisted of the brothers Godfrey (Kevin and Adrian) otherwise known as Epic Soundtracks and Nikki Sudden, along with Biggles Books (Richard Earl) Phones Sportsman (David Barrington) and Jowe Head (Stephen Bird). Their debut single Read About Seymour has been considered a Punk classic and their first album went to number 1 on the UK Independent charts.

After the split up, the members went their individual ways. Epic Soundtracks died of unknown causes in 1997 at age 38. And brother Nikki Sudden died in a New York City Hotel room in 2006 at age 49.

But even though they were together as a band for a short period of time and only released two studio albums, they wound up being highly influential to a number of groups during the Post-Punk period, among them Nirvana, REM, Sonic Youth and Pavement.

This session would wind up being their last for John Peel, and many considered it one of their best - they did some three sessions for Peel between 1978 and 1980.

You may not be familiar with them (I don't recall seeing or hearing very much about them here in L.A.), but I would suggest you either plug in the headphones or crank up the speakers and give it a listen. Could be surprising.
The Undertones In Concert - 1980 - Past Daily Soundbooth The Undertones - One of the most successful bands to come out of Northern Ireland.



The Undertones - In Concert from The Paris Theatre - April 19, 1980 - John Peel - BBC Radio 1 In Concert -

The Undertones tonight. From a concert given at The Paris Theatre in April 19, 1980 mc'd by John Peel and recorded by BBC Radio 1 for their In Concert Series.

The Undertones were one of the most successful bands to come out of Northern Ireland and were hugely popular during the Punk period of 1977-1983. They recorded four albums and released some 13 singles during that time, scoring a string of hits in the process.

Initially formed in 1974 they began playing local venues by 1976. When Punk hit the scene they changed focus and took the name The Undertones. By 1977 they had attracted a considerable amount of attention, particularly from John Peel, who had been a copy of their demo reel. Peel was so impressed with the band that he offered to book the group into a studio to record what became their first ep, Teenage Kicks. The band issued the ep on Belfast's Good Vibrations label and Teenage Kicks became their first hit.

Shortly after, they were signed to Sire Records on a five-year contract and by 1978 had embarked on their first UK tour.

This concert comes around the time their second album, Hypnotised was released and featured two hit singles, My Perfect Cousin and Wednesday Week. The album also hit Number 6 on the album charts and has been listed as one of the 1001 Albums You Must Hear Before You Die.

The streak of good luck and hit releases continued until 1983, when artistic differences between singer Feargal Sharkey and a general dissatisfaction with their label (EMI) prompted Sharkey to quit. The band played their last gig in July of 1983.

The Undertones reformed in 1999, minus Sharkey and have picked up where they left off and continue to perform.

If you missed the initial incarnation of The Undertones, here is a great place to start. John Peel announces and he's truly a fan. If you remember them, and particularly their U.S. hit Here Comes The Summer, you know what I'm talking about.

Crank it up and enjoy.
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