1985 Memories – A Journey Back To 1985

The golden year of 1985. A brief journey through the music, entertainment, happenings, memories and some trivia of the year.

First of all, sel f-introduction. John Sargener, who is in charge of Golden Hour programs every Wednesday, Thursday, Friday, 11:00 to 12:00 on IRVINEBEATFM 107. 2 and website Irvinebeat. com. I was asked if I could post on the web page, so I decided to escape a little in our past, as I did on the program. It is usually from 1960 to 1989, so this time it is 1985.

What Do You Remember About 1985?

Please tell me if you have anything to remember about 1985. This year, I have reached my 30th birthday, but I feel like it hasn't changed anything, but the last year of the third year should feel old, but at all. It was a mysterious time I didn't feel it. Even now, I feel that it is okay unless I see myself in the mirror or window. I'm not familiar with the 80's, but I worked all the time, and sometimes I was at home and took care of the children. We men were lucky to skip their work while his wife was doing a big job at Super Charged Deaville. At least one of my sons spent half a day at school. So my effort in 1985 is here.

Music of 1985

Band Aid was the number one Christmas in 1984 and started as the number one of the year.

January – March UK Number 1’s – 1985

Elaine Page and Barbara Dixon sang "I Know Him So Well" from the musical "Chess", which was pensed by Tim Rice, Benny Anderson, and Bjorn Wolvaus, and decorated the top of the next chart. At that time, the song sold the most in the British charts as a single female duo, but it may still be the case. They kept the first place for four weeks, but eventually the first place by stock, Eight Ken, and Waterman broke it.

Production Trio's first number one was Dead or Alive's "You Spin Me Right Round" for two weeks. This was the only top 10 hits of them.

The next number one "Easy Lover", in partnered by Phili p-Fire's frontman, Philip Bailey, is knocked out of the charity single with Michael Jackson and Lionel Ritchie. I kept the first place for four weeks until it was done.

April – June UK Number 1’s – 1985

The USA Fore Africa, "We are the World", ranked first for two weeks from April to May, later won the first week of Filis Nilson on the only chart entry "Move Closer".

The next single chart was Paul Hard Castle's ant i-war song 19, who sang the Vietnam War. Paul won the first place in the song for five consecutive weeks.

Another Charity Super Group, which succeeded Paul, won the first place in Rogers & Hummerstein's "You'll Never Walk Alone" created by the cloud for the Bradford City stadium fire. Jerry Marsden was a member of the cloud and became the first person in the British recording history, which won the first place in the chart in two versions of the same song. THE CROWD won the first place for two weeks.

American Sleage sisters have gained more fame in the UK than their homeland, and Sister Sledge has won the first place in Frankie for four consecutive weeks in Frankie, a wel l-known producer and songwriter Nile Rogers.

July – September UK Number 1’s – 1985

Men and women's most char t-in duo in the UK will then win the only first place in The Must Be An Angel (Playing with My Heart). The duo is Yuriz Mix by Annie Lenox and Dave Stewart.

Annie and Dave won the first place in the UK in Madonna's "INTO THE GROOVE". This was the first place for Madonna, but Madonna had already won the first place in the United States, 2nd in all three songs, and 3rd in the UK, so the first place in the UK. I was waiting for a long time. Madonna later won five songs in the United Kingdom in the 1980s. This number one kept the lead for four weeks.

The UB40 won the second number one, but this song was a cover version, like the first song, and this time it was Sony and shale's former number one "I Got You Babe". The song, Pretenders Crissy Hind, was a guest vocal, and kept the first place for a week.

Following the UB40, David Bowie and Mick Jagger covered Martha and the Vandela's Dancing in the Street and kept the first place for four weeks.

In the fifth week, New Yor k-born Jennifer Rush won the first place in the powerful "The Power of Love". This was Jennifer's only UK top 10 hits.

October – December UK Number 1’s – 1985

Former Undertone frontman, Fiagal Shaky, is "A Good Heart", which will be replaced by Wam's third song "I'm Your Man" that George Michael composed and produced. Keep the first place for two weeks.

Whitney Houston won the first place in the debut single "Saving All My Love For You". Whitney kept the lead for two weeks and won the Christmas number one, but at the beginning of the year, Shakin Stevens won the number one in "Merry Christmas Everyone". This was the fourth song for Shakie and the last number one.

Quiz Time – The 59 Second Flashback

5 UK Top 10 Hits of 1985. How many artists can you recognise? 1 minute - 5 songs - Say the artist's name. The answer is at the bottom of this page. Good luck.

Album Charts Of 1985

Hit Albums As in 1984, a variety of artists topped the album charts in 1985. Alison Moyet of Yazoo had the first number one album of 1985 with her debut album Alf, which had three top singles: All Cried Out, Love Resurrection and Invisible. It was her only number one album and stayed at the top for a week.

Foreigner, an English-American band formed in New York, first entered the UK album chart with their fifth album Agent Provocateur, which included the UK number one power ballad "I want to know what love is". The album stayed at the top for three weeks, becoming their only UK number one album.

After struggling to reach the top in their home country with their previous two albums, Nebraska and The River, he got his first UK number one with Born in the USA. Bruce Springsteen, who was a regular on UK albums with the E Street Band, became his biggest selling album to date. He stayed at the top for four weeks.

The Smiths' second album, Meat is Murder, was their only number one on the UK album chart. The Smiths were active from 1982 to 1987, during which they released four albums, three of which reached number two on the charts.

Phil Collins followed Smith with his third album, No jacket required, which reached number one with the hits "Sussidio", "One more night", "Take me home" and "Don't lose my number". Sting and Peter Gabriel worked with Phil on this album. "No jacket required" stayed at number one for five weeks.

Paul Young's second album, The secret of association, also reached number one as did his first album. This album included Paul's US number one "Every time you go away" as well as two other top ten hits, "I'm gonna tear your playhouse down" and "Everything must change". Like "No parlez", this album only stayed at number one for one week.

Various Artists' album The Hits Album started the year at number one, and about four months later The Hits Album 2 followed, spending six weeks at number one, making it the longest number one album of the year.

Dire Straits get their next number one album with their second chart topper, "Brothers in arms". It was their biggest selling album by far with hits like: Money for nothing, "Sultans of swing", "Walk of life" and "So far away". Brothers in arms songs aren't bad either.

After staying at number one for two weeks, Dire Straits are overtaken by The Style Council's second album, "Our Favourite Shop", which gives The Style Council their only number one on the album chart. "Walls come tumbling down" is a key song from this album.

After The Style Council's only number one album, it is Bryan Ferry's only number one album. "Boys and Girls" topped the charts for two weeks. Brian's last top ten single "Slave to love" was one of the tracks from this album.

As with the previous two, this was the only album by prog rock band Marillion to receive this honor. Misplaced Childhood was their third album, a concept album based on the life of Scottish lead singer Fish (Derek Dick), who wrote all the lyrics. Two of their three top ten singles, Kayleigh and Lavender, appeared on this album.

Vinyl Albums Were Still Outselling CD’s In 1985

Bruce Springsteen's Born in the USA had already spent one week on the chart in February, but they would spend four weeks on the chart for most of July.

Like Bruce, Dire Straits also had their second number one of the year with Brothers in Arms.

Dire Straits stayed at number one for two weeks, but were knocked out of the top spot by Now That's What I Call Music 5, before Madonna kept it for another week with her second album, Like a Virgin.

Kate Bush knocked Madonna off the top spot with Hounds of Love, which included the top hit "Running up that hill." She kept it for two weeks before Madonna returned to the top with Like a Virgin.

George Benson then kept it at number one for a week with his compilation album The Love Songs, but was knocked out by top Scottish band Simple Minds.

Simple Minds spent one week at number one with their second UK number one album, Once Upon a Time, which contained three top ten singles: the stadium anthems Alive and Kicking, Sanctify Yourself and All the Things She Said. They knocked George Benson off the number one spot, but he reciprocated by putting The Love Songs back on top for another week.

Sade's first album, Diamond Life, had reached number two in 1984, but their follow-up, Promise, reached number one and stayed there for two weeks.

In December, Saed was topped by the compilation album The greatest hits of 1985 for one week, but then another compilation album Now that's what I call music 6 stayed at number one for two weeks, and then the compilation album Now - The Christmas album topped the chart for two weeks over Christmas and New Year.

Entertainment in 1985

1985 On TV

Several shows started this year. The short-lived Salford-based soap Albion Market lasted just one year before being dropped.

A sequel to Alf Garnett's Till Death Do Us Part started this year. In sickness and in health, many of the cast of Till Death Do Us Part survived. Warren Mitchell as Alf, Dandy Nichols as Else Garnett, Una Stubbs as Rita, Arthur English as Arthur, and Eamonn Walker as Marigold all reappeared. The series continued into the 90s.

This year saw the introduction of the Ramsay Street residents. Basically, it started with three families: the Ramsays (Max, Maria, Shane, Danny), the Robinsons (Helen, Paul, Scott, Lucy), and the Clarks (Daphne, Des, Eileen, Jamie). The most famous residents of the street are probably Charlene (Kylie Minogue) and Scott (Jason Donovan).

Cilla Black, who had already hosted Surprise Surprise, was about to enter the 21st century by hosting Blind Date, which started this year.

1985 Saw The Launch Of Many Iconic TV Shows

Crockett and Tubbs also appeared this year. The characters were played by Don Johnson and Philip Michael Thomas of Miami Vice fame, and the series ran until 1990. A film based on the series was released in 2006, starring Colin Farrell as Crockett and Jamie Foxx as Tubbs.

Another must be mentioned: the Easterners of Albert Square: the Fowlers, Beales, Watts, Osmans, Carpenters and Jefferys. The Easterners have stood the test of time, as has Coronation Street on other channels.

American private investigators Maddie Hayes and David Addison appeared on screen this year as the protagonists of Moonlighting, with Cybill Shepherd playing Maddie and Bruce Willis playing David. The series continued into the 90s.

It was also the year that we first saw Thundercats, Telly Addicts, Max Headroom and The Golden Girls.

1985 Films

In the film world, Roger Moore played James Bond for the last time in A View to a Kill. He played James seven times, starting with Live and Let Die in 1973.

The first Back to the Future was released this year. Teenager Marty McFly (Michael J. Fox) travels back in time in a DeLorean car, which is converted into a time machine by scientist Doc Brown, and meets his parents in the past. Three Back to Future movies have been made.

Stallone Stars In Rambo & Rocky IV

Sylvester Stallone plays Rambo for the second time since the hugely successful First Blood in 1982. After serving three years in prison for his legendary role in First Blood, John Rambo is asked to rescue prisoners of war left in Vietnam. He accepts the job in exchange for a pardon, and despite losing his weapon, he manages to get there. This super action movie is almost the same as First Blood. Also in the same year, Sylvester starred in Rocky IV, fighting Ivan Drago (Dolph Lundgren), who had just killed his friend Apollo Creed in the ring. This is another amazing movie.

Another sequel from that year was Jewel of the Nile, a follow-up to 1984's Romancing the Stone. Again starring Michael Douglas, Kathleen Turner and Danny De Vito, it was a desert adventure in search of the jewel of the Nile. Billy Ocean's "When the going gets tough" was the theme song for the film.

For years afterwards, the film that me and the lads watched over and over again at matinees at the cinema in Irvine was The Goonies. We loved watching One-Eyed Willy's adventures in search of pirate treasure as kids. The Goonies, Short Circuit and BMX Bandits must have been alternate cycle rides almost every Saturday morning of my childhood.

Other happenings in 1985

At the same time that Vodafone launched the UK's first mobile phone network, British Telecom (BT) began phasing out the old red telephone boxes.

Glasgow's SECC opens this year, the first concert in Hall 1 is the Royal Scottish National Orchestra.

British Home Stores (BHS) merges with Habitat.

This year, live aids and comic reliefs for Ethiopia's famine to rescue will begin.

Mohamed Al Faid acquired Harrods.

The strike of a British mine worker ends.

The boost chocolate bar was first sold.

Synchrare C5 was released in January this year, and the company went bankrupt by the end of the year.

The inflation rate at the end of the year is 6. 1 %.

1985 Sport Headlines

John Stein fell down during the director of Scotland and died. Scotland and Wales were fighting Ninian Park on playoffs in the World Cup final tournament. Scotland won the penalty just before the match, Davi Provan decided, caught up with the 1-1 tie, and Scotland decided to advance to Australia. Jock was still 62 years old.

Sandy Lyle is the British Open Championship held at the Royal St. George Golf Club in Sandwich, with a total of two over two rounds and one stroke of the US Pain Stuat. Won the championship.

The catastrophe of the Hiizel Stadium occurred this year in the European Cup final against Liverpool vs. Juventus. The 39 dying fans have been expelled from the European tournament with the participation in the catastrophe in the disaster. Indefinite expulsion was released five years later.

In Bradford's Valley Parade, the stand was hit by a fire, 56 supporters were killed, injuring more than 200.

Alan Prost won the fourth F1 driver's champion.

The 1 1-yea r-old horse last suspect won the Seagrams Grand Neart.

A handful of arrivals in 1985

Lewis Hamilton (Racing Driver) January 7

Cristiano Ronaldo (soccer player) February 5th

Keira Nightly (actress) March 26

Leona Lewis (singer) April 3rd

Michael Felps (Swimmer, 2 Olympic Gold Medal!) June 30

A handful of departures in 1985

Constantine Chernenko (Russian leader) March 10

Sir Michael Red Grave (British actor) March 21

Rock Hudson (American actor) October 2

Yul Brinner (Russian actor) October 10

Ricky Nelson (American actor / singer) December 31st

That Was 1985

That's my subjective 1985 short trip. I hope you enjoy it. Health, good luck, and the blessing of God. Then again.

Other Years Featured In This Series

John has broadcast Golden Hours at Urbine Beat FM since 11:00 am on Wednesday, Thursday and Kim. Click here for the other years featured in this series:

The answer to the music quiz in 1985 (top) 1. Talking Head s-Road to Nowhere 2. Midge Ure 3. IF I Was 4. Steve Arringto n-Feel so Real DEO < Span > The answer to the music quiz in 1985 (top) 1. Talking Head s-Road to Nowhere 2. Suddenly 3. MIDGE UR E-IF I Was 4. Steve Arringto n-Feel So Real IDEO 1985 Answer of the year's music quiz (top) 1. Talking Head s-Road to Nowhere 2. Billy Ocea n-Suddenly 3. MIDGE UR E-I WAS 4. Steve Arringto n-Feel So Real 5. Trans X-LIVING ON VIDEO

ReynoldsRetro

Mark E. Smith (Mini interview as part of the special feature of "What kind of Christmas with the name Smith" in "Observer" paper) The Observer, Decementer 23, 1990 by Simon Reynolds Marks Marks Mark E. Smith Smith You may think that it is a time to endure rather than enjoying Christmas because of its unfriendly image. "I don't hate Christmas." I like more in a few days, but when the whole country is closed for two weeks, I'm a little frustrated. Christmas in this country continues endlessly. Except for that, you can't blame it. " Mark E. Smith's group The Fall is a prestigious post punk. But, unlike many organizations, The Fall doesn't claim anything. For 14 years since the formation, they have recorded a huge amount of demands as Dylan and tend to go out of the road. His bloody personality peculiar to the northern country and the flexibility of the coolness are reflected in The Fall's spectacular sound. "I usually try to escape completely. I'm trying to avoid claustrophobia, which is trapped and arguable with my family." I'm going to spend this year with my mother. How about giving a present. "I buy a present the day before Christmas. I don't buy it too much. When I get to Christmas Eve," Smith "" "Obsorbar" Mini interviews as part of the special feature as a celebrity who has the name of the name) THE OBSERVER, DECEMBER 23, 1990 by Simon Reynolds Marks E. Smith says that you can enjoy Christmas from its unfriendly image. You may think it's time to be patient. "I don't hate Christmas." I like more in a few days, but when the whole country is closed for two weeks, I'm a little frustrated. Christmas in this country continues endlessly. Except for that, you can't blame it. " Mark E. Smith's group The Fall is a prestigious post punk. But, unlike many organizations, The Fall doesn't claim anything. For 14 years since the formation, they have recorded a huge amount of demands as Dylan and tend to go out of the road. His bloody personality peculiar to the northern country and the flexibility of the coolness are reflected in The Fall's spectacular sound. "I usually try to escape completely. I'm trying to avoid claustrophobia, which is trapped and arguable with my family." I'm going to spend this year with my mother. How about giving a present. "I buy a present the day before Christmas. I don't want to buy it. What kind of Christmas does the celebrity enjoy?) The mini interview as part of the special feature) THE OBSERVER, DECEMBER 23, 1990 by Simon Reynolds Marks E. Smith is rather patient rather than enjoying Christmas from its unfriendly image You may think it's time to do it. "I don't hate Christmas." I like more in a few days, but when the whole country is closed for two weeks, I'm a little frustrated. Christmas in this country continues endlessly. Except for that, you can't blame it. " Mark E. Smith's group The Fall is a prestigious post punk. But, unlike many organizations, The Fall doesn't claim anything. For 14 years since the formation, they have recorded a huge amount of demands as Dylan and tend to go out of the road. His bloody personality peculiar to the northern country and the flexible flexibility are reflected in The Fall's spectacular sound. "I usually try to escape completely. I'm trying to avoid claustrophobia, which is trapped and arguable with my family." I'm going to spend this year with my mother. How about giving a present. "I buy a present the day before Christmas. I don't buy much.

Wednesday, December 25, 2019

Hexmas - M.E.S. on the festive season

If someone else in the rock world did the same in the same way as high art, his most painful ridicule showed the unprecedented personality of this singer. Smith has often been resentful about how the rock and roll was ruined when students and beautiful students had rock and roll. And for a long time, he was an ant i-liberal group only in the form of a music media. He is pleased with his extraordinary ideas and lovable prejudice as an antidote for the righ t-handedness of the alternative scene. In the interview, the whole grain bread usually tastes like dust, and nuclear weapons are more preferable than conscription. "When you are interviewing, think of it," Sometimes I say it's just a joke, but I'm seriously accepted. But if you're a no n-liberalist. If you're looking for words, I can say that I should be in a war with Iraq. " If Smith has a creed, it is probably a kind of suspicion from the front, and a thorough old British disgusting for vulgar and joke. "There are two problems in the UK today." There are too many media and the TV is taking the initiative. Everyone has begun to think seriously about politics again. All the politicians were the same holes, and they always thought that the good thing about the United Kingdom was that they didn't care. Du

Posted by Simon Reynolds at 1:37 PM No Comments: Label: Christmas, Mark E. Smith, The Fall

Monday, December 16, 2019

Joe Boyd interview

Joe BOYD Timeout May 2006 Simon Reynolds < Span> If someone else in the rock world did the same Dajare as high art, this singer would have been the most painful ridicule. It shows a unprecedented personality. Smith has often been resentful about how the rock and roll was ruined when students and beautiful students had rock and roll. And for a long time, he was an ant i-liberal group only in the form of a music media. He is pleased with his extraordinary ideas and lovable prejudice as an antidote for the righ t-handedness of the alternative scene. In the interview, the whole grain bread usually tastes like dust, and nuclear weapons are more preferable than conscription. "When you are interviewing, think of it," Sometimes I say it's just a joke, but I'm seriously accepted. But if you're a no n-liberalist. If you're looking for words, I can say that I should be in a war with Iraq. " If Smith has a creed, it is probably a kind of suspicion from the front, and a thorough old British disgusting for vulgar and joke. "There are two problems in the UK today." There are too many media and the TV is taking the initiative. Everyone has begun to think seriously about politics again. All the politicians were the same holes, and they always thought they were stupid. Du

Posted by Simon Reynolds at 1:37 PM No Comments:

Label: Christmas, Mark E. Smith, The Fall

Joe BOYD Timeout May 2006 Simon Reynolds If someone else in the rock world did the same Dajare as a high art, it would have been the most painful ridicule of this singer. It shows a personality. Smith has often been resentful about how the rock and roll was ruined when students and beautiful students had rock and roll. And for a long time, he was an ant i-liberal group only in the form of a music media. He is pleased with his extraordinary ideas and lovable prejudice as an antidote for the righ t-handedness of the alternative scene. In the interview, the whole grain bread usually tastes like dust, and nuclear weapons are more preferable than conscription. "When you are interviewing, think of it," Sometimes I say it's just a joke, but I'm seriously accepted. But if you're a no n-liberalist. If you're looking for words, I can say that I should be in a war with Iraq. " If Smith has a creed, it is probably a kind of suspicion from the front, and a thorough old British disgusting for vulgar and joke. "There are two problems in the UK today." There are too many media and the TV is taking the initiative. Everyone has begun to think seriously about politics again. All the politicians were the same holes, and they always thought that the good thing about the United Kingdom was that they didn't care. Du

Posted by Simon Reynolds at 1:37 PM No Comments:

Label: Christmas, Mark E. Smith, The Fall

Joe Boyd Timeout May 2006 Simon Reynolds

White Bicycle: Making Music in the 1960s, Joe Boyd's fascinating memoir of his life as a record producer and manager, comes at a good time. Boyd's disciples, such as the Incredible String Band, Vashti Bunyan, Nick Drake and Fairport Convention, are revered as divine ancestors by a new breed of bearded American troubadours like Devendra Banhardt. But the New Jersey-born Boyd's musical involvement extends beyond gently plucked acoustic guitars and dull-toned troubadours. He was production manager for the 1965 Newport Folk Festival (it was Boyd who plugged in Dylan's electric guitar that fateful night), co-founded the legendary London psychedelic club UF0 and produced Pink Floyd's debut single, "Arnold Layne." Boyd appears in White Bicycles as an almost Zelig-like figure, rubbing shoulders with legendary musicians: he shared a night in Sweden with Muddy Waters, Roland Kirk, Eric Clapton, Duke Ellington, Nico and, most unlikely of all, the pre-ABBA Benny, Björn, Agnetha and Frida; he shared a Laurel Canyon house with John Cale and dated Linda Peters (later Mrs. Richard Thompson).

But unlike Zelig, Boyd was no bystander, but a key catalyst and enabler behind the scenes. It wasn't until he arrived in London in late 1965 that his career really took off. Swept up in the "incredible energy of 1966," he left his day job (founding the UK branch of Elektra Records) behind to become a central figure in the city's psychedelic underground. With partner Jon Hopkins, he founded UFO. "There were more freaks in London than we thought," he says, reflecting on the club's huge success. "UFO's great golden age was from December 1966, when it opened, until April 1967, when Arnold Layne came out. Then Hoppy and the International Times gang threw a rave at Alexandra Palace called 14-Hour Technicolor Dream. Almost immediately, UFO was flooded with curious people." To add to the tourist crowd, the media and the law followed, resulting in tabloid horror stories about naked 15-year-old girls tripping and going mad, police raids on the house, and Hoppy being arrested on drug charges. The idea for UFO grew out of the London Free School, an idealistic "education for the people" venture that ran out of a basement in Ladbroke Grove. Renting a nearby church hall, Boyd and Hoppy staged a precocious triptych of Pink Floyd sound-and-light shows to raise funds for the LFS. "Then we thought we'd raise some money for ourselves. I'd lost my job at Elektra and Hoppy was a photographer but gave that up for The Revolution. So starting UFO seemed like an obvious way to make a bit of bread."

Thursday, December 5, 2019

Maas production

Among the anarcho-yippie "brains" of the time, like the glove-haired Mick Farren, Boyd, who excelled at organization, was seen as suspiciously bourgeois and business-savvy. These include Chris Blackwell of Island Records (who worked with Boyd's production company Witch Season), Chris Stamp & Kit Lambert (teaming with The Who and the Tracks label), Peter Jenner, and Giorgio Gomelsky. Record industry mavericks like Denny Cordell and Tony Secunda (producer and manager of The Move) are vividly portrayed in Boyd's memoir, as are more well-known figures like Nick Drake and Sandy Denny. Boyd similarly managed to balance music with income, but he says he was not as tough or shrewd as the real players of the time. For example, after recording "Arnold Layne", he was removed from Pink Floyd's future involvement. The idea for UFO was an outgrowth of the London Free School, an idealistic "education for the people" venture that ran out of a basement in Ladbroke Grove. Renting a nearby church hall, Boyd and Hoppy staged a precocious triptych of Pink Floyd sound-and-light shows to raise funds for the LFS. "Then we thought we'd raise some money for ourselves. I'd lost my job at Elektra, and Hoppy was a photographer but gave that up for The Revolution, so starting UFO seemed like an obvious way to make a bit of bread."

Among the anarcho-yippie "brains" of the day, like glove-haired Mick Farren, Boyd, a master of organization, was regarded as suspiciously bourgeois and business-savvy: Island Records' Chris Blackwell (with whom Boyd worked with his production company Witch Season), Chris Stamp and Kit Lambert (teams from The Who and the Tracks label), Peter Jenner, and Giorgio Gomelsky. Record industry mavericks like Denny Cordell and Tony Secunda (producer and manager of The Move) are vividly portrayed in Boyd's memoir, as are more widely known figures like Nick Drake and Sandy Denny. Boyd, likewise, managed to balance music and income, but he says he was not as tough or shrewd as the real players of the time. For example, after recording "Arnold Layne", he was removed from Pink Floyd's future involvement. The idea for UFO was derived from the London Free School, an idealistic "education for the people" venture that ran out of a basement in Ladbroke Grove. Renting a nearby church hall, Boyd and Hoppy staged a precociously triptych of Pink Floyd sound and light shows to raise money for the LFS. "Then we thought we'd raise money for ourselves. I lost my job with Elektra, and Hoppy was a photographer but gave that up for "Revolution". So starting UFO seemed like an obvious way to make a bit of bread.”

Among the anarcho-yippie “brains” of the time, like glove-haired Mick Farren, Boyd, who excelled at organization, was considered suspiciously bourgeois and business-savvy: Island Records’ Chris Blackwell (who worked with Boyd’s production company Witch Season), Chris Stamp and Kit Lambert (teaming with the Who and the Tracks label), Peter Jenner, and Giorgio Gomelsky. Record industry outcasts like Denny Cordell and Tony Secunda (producer and manager of the Move) are vividly portrayed in Boyd’s memoir, as are more widely known figures like Nick Drake and Sandy Denny. Boyd, likewise, managed to balance music and income well, but he says he was never as tough or shrewd as the real players of the time. After recording “Arnold Layne”, for example, he was removed from Pink Floyd’s future involvement.

Monday, November 25, 2019

PiLhead's Progress (happy 40th Metal Box)

Ironically, for a person who was in the center of the swirling kaleidoscope in the London Freak scene, the approach to the record production of Boyd himself shunned all trippy tricks on music in the late 1960s. I chose a warm and shining naturalism. "I wasn't attracted to the ove r-sponsored studio effects, such as faceing and panning, and said," I always want to listen to my work in 50 years. Is to create an illusion that the band is playing together in a real acoustic space. " The transcendental achievements of the delicate approach of voice can be heard on the tw o-disc CD "White BicyCles", which includes the work of the witch season that will be released at the same time as this book.

What is the title of the memoir? According to the voice, this is a symbol of the "wonderful ideas of the 60's" that did not work. Specifically, the Dutch Provos refers to a utopia plan that distributes white bicycles during Amsterdam so that people can use it for free. Boyd is an absolute 60's the moment when Tomorrow, who longed for UFO, played the Brit Psycho Bicycle "White Bicycle" in this book while looking for a title with more desperate feelings. He explains that he was positioned as a peak before he rushed to the vertex, disillusionment and collapse. The vertex occurred at the end of the dawn on July 1, 1967. It may sound suspicious and accurate for a person who must have been crazy at the time at the time, but the voids are an objection, "I cheated. "And confess. I didn't get drunk much. I became an Eminence Griez, my longing, and denied at least one myth of 60s.

Posted by Simon Reynolds at 9:15 PM No Comments:

Label Joe Boyd, the 60's < SPAN>, for the person who was in the center of the swirling kaleidoscope in the London Freak scene, the approach to Boyd himself was applied to the record production in the late 1960s. He shunned all the tripped tricks and chose the warm and shining naturalism instead. "I wasn't attracted to the ove r-sponsored studio effects, such as faceing and panning, and said," I always want to listen to my work in 50 years. Is to create an illusion that the band is playing together in a real acoustic space. " The transcendental achievements of the delicate approach of voice can be heard on the tw o-disc CD "White BicyCles", which includes the work of the witch season that will be released at the same time as this book.

What is the title of the memoir? According to the voice, this is a symbol of the "wonderful ideas of the 60's" that did not work. Specifically, the Dutch Provos refers to a utopia plan that distributes white bicycles during Amsterdam so that people can use it for free. Boyd is an absolute 60's the moment when Tomorrow, who longed for UFO, played the Brit Psycho Bicycle "White Bicycle" in this book while looking for a title with more desperate feelings. He explains that he was positioned as a peak before he rushed to the vertex, disillusionment and collapse. The vertex occurred at the end of the dawn on July 1, 1967. It may sound suspicious and accurate for a person who must have been crazy at the time at the time, but the voids are an objection, "I cheated. "And confess. I didn't get drunk much. I became an Eminence Griez, my longing, and denied at least one myth of 60s.

Posted by Simon Reynolds at 9:15 PM No Comments:

Label Joe Boyd, ironic, the person who was in the center of the swirling kaleidoscope in the London Freak scene, the approach to the record production of Boyd himself was a trippy in music in the late 1960s. He shunned all the tricks and chose a warm and shining naturalism instead. "I wasn't attracted to the ove r-sponsored studio effects, such as faceing and panning, and said," I always want to listen to my work in 50 years. Is to create an illusion that the band is playing together in a real acoustic space. " The transcendental achievements of the delicate approach of voice can be heard on the tw o-disc CD "White BicyCles", which includes the work of the witch season that will be released at the same time as this book.

What is the title of the memoir? According to the voice, this is a symbol of the "wonderful ideas of the 60's" that did not work. Specifically, the Dutch Provos refers to a utopia plan that distributes white bicycles during Amsterdam so that people can use it for free. Boyd is an absolute 60's the moment when Tomorrow, who longed for UFO, played the Brit Psycho Bicycle "White Bicycle" in this book while looking for a title with more desperate feelings. He explains that he was positioned as a peak before he rushed to the vertex, disillusionment and collapse. The vertex occurred at the end of the dawn on July 1, 1967. It may sound suspicious and accurate for a person who must have been crazy at the time at the time, but the voids are an objection, "I cheated. "And confess. I didn't get drunk much. I became an Eminence Griez, my longing, and denied at least one myth of 60s.

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Label Joe Boyd, 60s

Timo MaaS Village Voice, 2001 by Simon Reynolds If you go to a dance shop in Manhattan recently, you will notice that the space on the whole wall is filled with "progressive". Trans without cheese, houses eliminating disco, techno that removed black feeling, and progressive are mostly defined by their interim. The tantra ideal of this genre is a long set that lasts just before the climax. DJs, like John Digweed, intentionally choose a truck without individuality, not an orgasm. As a result, progressive tends to be a mild and moderate experience that is rather flat and does not feel peak.

Until Timo Mars, Timo Mars, appeared, I didn't expect this genre to create exciting things. The explicit of the progressive reminds you as a promise of a new genre. "Big Room" is a word that DJ is often used when reviewing records, but this may be a good naming. Rather than a musical definition, it refers to a huge sound track that uses the Super Club's Super Club's surround sound system. Mars's music is sculpted in four dimensions, a huge lump moves around, and the noise on the filter draws bread over the head and draws the trajectory of the tracer. The sound becomes magnificent. The size is important not only in the fou r-dimensional but also in the frequency spectrum: Sudden kick drums will open a su b-base hidden plateau below that you believed that you were a threshold. Twilo's resident has changed on Saturday (Junior Vasquez Warming Up), and MaaS has doubled the time on the deck. Unfortunately, a si x-hour set means that a slow build in the Digweed style. The remix of the 2000 hit song "Dooms Night" made the audience enthusiastic. Still, mysterious blanks remain. Rave, reminiscent of young people's movements, such as hippies and punk, has gained a certain purity. There is no humor or sexuality, and the vague urge is reminiscent of the movement of young people, such as hippies and punk, and the progressive is gaining a certain kind of purity.

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Public Image LTD Public Image: FIRST ISSUE (Virgin 1979) Second Edition (Island 1980) PARIS AU PRINTEMPS (Virgin 1980) MANCE (Warner Bros 1981) Live in Tokyo (elektra 1983) This is what You want. This is what you get (elektra 1986) Happy? T What is not (Virgin 1992)

[S pin guide to alternative rock 1995]

If Johnny Rotton did it, Sex Pistols would not have made such a global, vicious but popular hard rock. Instead of Mod, Gram, Proto Punk (The Stou Ziz, New York Dolls), Pistols would have gained information from his favorite music: Avan Boogie, Peter. Hamil's art rock paid, the space and stealth of can and dub reggae. Of course, if Johnny won, Pistols would not have revolutionized rock. That was the fact that Rotton, who turned his back to the Punk Rock's deity in 1978, was a public image Limited, a studi o-based unit.

Rotton, who has sharpened the helm from the heavy Mind of the Borox "Heavy Metal Productions", set the bass at the center of the PIL sound. He was a friend of Dub Freak, who was a sel f-taught but instinctual spiritual bassist, and called Jar Wable, who worshiped CAN Holgar Chukai. Nevertheless, PIL would not have been established without Keith Levine's furiously heresy guitar work. Furthermore, despite the fact that this group spoke of the "ant i-locking" ideology (I made a lot of enthusiastic valves, such as going to other media such as movies, not touring, not a "band"). The debut album is surprisingly hard. "The glorious minimalism with Wabble's squeaky bass line and Levine's sounding code reflects the purity of Radon, who declare Lotton's persona and declare that" I am not treated as a property. " "Lowlife" "The distance between Rydon and Pistol Packing further," is blamed for Marcom McLaren of the Ego Maniac Trainer "De" Bourgeoisy Anarchist ". Funk's "Annalisa" and Dub Disco's "Fodderstompf"-forecast the "Metal Box".

Initially, it was released as three 1 2-inch boards in tin container (it was an attempt to dismantle the "album", succeeded in making the record a new approach), and then the tw o-disc LP "Second Edition". The "Metal Box", which was r e-packaged, is a work that Pil's ant i-lockism is no longer a dream story and can be seen in your future and your future. CHANT's "From the soulful barbarian" is the graceful Levine's guitar work, the Hendrix of the post punk itself. Sharp words like Radon-"NO BIRDS" in the suburbs. The dissection of the "delicate props lump of props" and "Swan Lake" dissects the abominable fear of the mother's death. However, Wabble is the heart and soul of PIL. His Deep Strat a-Base is dragging into the fear of fear, but at the same time, it is also a handrail to keep hanging there.

After PARIS au Printemps (live edition), Wabble left in a harder way from PIL. In the wilderness for 10 years, he reappeared in the Invaders of the Heart in the 90's, "Invaders of the Heart," and sold a new Ag e-specific belief. Without the heartbreak of Wabble's vitality, PIL's next work, "Flowers of Romance," became distracted and barren. The methodology of Levine and Rydon was to generate a large amount of raw sound material using a miscellaneous acoustic instrument, and use a mixing desk as a composition tool to build songs. Flowers was promoted by PIL and was accepted by critics as a revolution of music, but in retrospect, this LP is a hal f-hearted reproduction of the previously pun k-eared ideas, and from the creators. It was betrayed by lazy. Only the devi l-like strings and mysterious voices of the title song with the fragrance of the violin, and the tribal turmoil of "Under the House" (inspired by the actual ghost story) have established a compelling atmosphere. The rest is a darling beat and a casual texture, now sel f-parodic Mujin Howl and sour ("Track 8" Misodinist sexual recollection, ant i-nostalgia rant "GO BACK" ") Is topped.

And Levine also left. In this is what you want. This is what you get, Radon hires anonymous session musicians and contains asthm a-like saxophone Honk, a shocking new wave / Muzac hybrid. I created the sound. "This is not a love song is" Walking a disco, and the vocals of mult i-trucks are sufficiently catchy, but Rydon's greedy intention is "I'm Crossing over Into Enterprise". If you are declared without shyness, if the audience is the most noticeable, the pil's four albums are at least your money. It offers a solid and professional work, "ALBUM" (also known as "COMPACT DISC") in Red Zep and Bill Raswell. The production seems to be fresh now, such as Robert Palmer and Stevie Winwood, the unreadable smell. "Rise" -The shining guitar vocals, undulating bass, Irish fork chorus- is the last shine of Rydon.

John McGeok's wave cords get lost in the U2 area, and in "Rules and Regulations", gross up Killing Jokes for FM radio, and "Happy? Ridon's lyrics are dramatic as the last individual. Although his image is a standard nuo wave ("cows join a flock", "a group of ants", "like a leming to the cliff"). It is completely no n-personized. Only Fat Chance Hotel is a wonderful bitches on rotten holidays, a strange horn like a swirling Mariach band, such as "dinner splashed". ・ There is a sample.

The clever and speech "9" and the light metallic Metallic "Satt Whut Is Knot" have clearly failed with a mercenary motivation, and PIL was abandoned from Virgin. Since then, Rydon has been heard at a single single (despite saying that he has despised a rave culture) with a single band and left field. It's just a story about reunion of the pistols. Greatest Hits does not have to worry about Greatest Hits (halfway). Let's go straight to "METAL BOX" when there was "meaningful voice."

Public Image "Metal Box" (Deluxe Expanded Reissu) Pitch fork, November 1, 2016

Simon Reynolds

Among the fascinating alternate takes, B-sides, compilation-only rarities and unreleased sketches that make up this expanded reissue of Public Image Limited's post-punk masterpiece, the live version of "Public Image" is a real find. Part of an impromptu concert in Manchester in June 1979, the song breaks down and starts up again. "Shut up!" snaps John Lydon in response to the crowd's jeers. "I told you it was a rehearsal," another PiL member explains, and drummer Richard Dudansky only joined three days ago. PiL resume the song, but Lydon interrupts with "Miles too fast!" If the audience really wants to see "mega light displays and all that," they should go see a proper professional band. "But we're not like that. I'm sorry. I'll admit I was wrong." The performance, an unceremonious deconstruction of performance itself, takes us to the heart of the PiL project and the post-punk movement they represented. At its core was a belief in radical honesty, a trust in the expressive power of words, song, and sound as means of urgent communication. After the Sex Pistols broke up, Lydon was trying to find a way to operate as a public figure again, without masks or barriers, routines or restrictive expectations. So it's particularly appropriate that "Public Image" -- PiL's debut single and Lydon's post-Pistols mission statement -- is a song that broke down at Manchester's Factory Club. "Public Image" sings about how on-stage personas can be lies that performers are forced to live in perpetuity. Lydon sings "Johnny Rotten" as a theatrical role that trapped him and that he's now trying to throw off. Starting anew with his own name and new musical buddies, Lydon was determined to stay true to himself. The group's name was a reference to Muriel Sparks' novel The Public Image, whose ending alludes to a movie actress whose career is ruined and who is freed to embark on her post-famous authentic existence. Lydon added "limited" to allude to rock groups being corporations (the business of building an image) and keeping egos in check.

If Radon abandoned rock calcified customs and compared the new true music, truly new music, Bowie in the Berlin era "Working of New Music Night and noon" (Low ". You have explored the title). In fact, Virgin Records allowed Pil's expensive studio recording because he had the belief that Rydon was the most important British rock artist since Bowie. The tolerance has made it possible to record the three weird most unusual albums released by a major label: First Ischu, Metal Box, and Flowers of Romance. The pos t-punk promise was comparable to Joy Division of Closer.

However, the keyword is reinvent. Rydon said he was completely abandoned the rock, claiming that killing the genre is the true value of punk. However, unlike the absolute experimental (and as many experiments, it was hardly successful), the "Metal Box" is more than rock, but the Stou Ziz " Like Fan House and Kang's "Tago Mago", the rock is stretched to the farthest. Certainly, I can't bear it, but it's because of its intense, not because it is abstract or structurally complicated. It is a classic format called guitar, bass, drums, and voice (intermittent keyboard and electronics). The rhythm section (jarwable and drummers that appear one after another) are stable as hypnosis and are physically powerful. The guitarist (Keith Levine) is a genuine Ax hero and has the academic and spectacular knowledge of a great musician before punk. And the singer is a heresy and crazy, but reminiscent of John Lennon's solo and the intersection he found between deep, personal and politically universal. Pour everything with catharsis. There are several songs here! < SPAN> If Radon abandoned rock calcified customs and compared the new true music, truly new music, Bowie in the Berlin era "New Music Night and noon" ("Low" Working title) is exploring. In fact, Virgin Records allowed Pil's expensive studio recording because he had the belief that Rydon was the most important British rock artist since Bowie. The tolerance has made it possible to record the three weird most unusual albums released by a major label: First Ischu, Metal Box, and Flowers of Romance. The pos t-punk promise was comparable to Joy Division of Closer.

However, the keyword is reinvent. Rydon said he was completely abandoned the rock, claiming that killing the genre is the true value of punk. However, unlike the absolute experimental (and as many experiments, it was hardly successful), the "Metal Box" is more than rock, but the Stou Ziz " Like Fan House and Kang's "Tago Mago", the rock is stretched to the farthest. Certainly, I can't bear it, but it's because of its intense, not because it is abstract or structurally complicated. It is a classic format called guitar, bass, drums, and voice (intermittent keyboard and electronics). The rhythm section (jarwable and drummers that appear one after another) are stable as hypnosis and are physically powerful. The guitarist (Keith Levine) is a genuine Ax hero and has the academic and spectacular knowledge of a great musician before punk. And the singer is a heresy and crazy, but reminiscent of John Lennon's solo and the intersection he found between deep, personal and politically universal. Pour everything with catharsis. There are several songs here! If Radon abandoned rock calcified customs and compared the new true music, truly new music, Bowie in the Berlin era "Working of New Music Night and noon" (Low ". You have explored the title). In fact, Virgin Records allowed Pil's expensive studio recording because he had the belief that Rydon was the most important British rock artist since Bowie. The tolerance has made it possible to record the three weird most unusual albums released by a major label: First Ischu, Metal Box, and Flowers of Romance. The pos t-punk promise was comparable to Joy Division of Closer.

However, the keyword is reinvent. Rydon said he was completely abandoned the rock, claiming that killing the genre is the true value of punk. However, unlike the absolute experimental (and as many experiments, it was hardly successful), the "Metal Box" is more than rock, but the Stou Ziz " Like Fan House and Kang's "Tago Mago", the rock is stretched to the farthest. Certainly, I can't bear it, but it's because of its intense, not because it is abstract or structurally complicated. It is a classic format called guitar, bass, drums, and voice (intermittent keyboard and electronics). The rhythm section (jarwable and drummers that appear one after another) are stable as hypnosis and are physically powerful. The guitarist (Keith Levine) is a genuine Ax hero and has the academic and spectacular knowledge of a great musician before punk. And the singer is a heresy and crazy, but reminiscent of John Lennon's solo and the intersection he found between deep, personal and politically universal. Pour everything with catharsis. There are several songs here!

That's the case with opener "Albatross." It's 11 minutes long and designed as a test for the listener, much like "Theme," which opens First Issue. The music is utterly heartless, with Levin swinging his axe like a slaughterhouse worker and a bass wobble that sounds like a looped, quaking thump, and the vocals are utterly plaintive: Lydon denounces the burdens he can't shake, perhaps of oppressive figures from his past, perhaps of manipulative maestro McLaren, perhaps of his dead friend Vicious, perhaps of "Johnny Rotten" himself.

"Memories," Metal Box's lead single from November '79, is more upbeat. Like "Albatross," it's an exorcism of rage: Lydon is haunted by haunting memories on "Swan Lake," a remix of the single "Death Disco." If the heartbreak of the lyrics -- "Silence in her eyes," "Final days in fade," "Suffocating on my bed, flowers withering and decaying" -- recalls Lennon's "Mother," the sobbing anguish of Lydon's vocals resembles Yoko Ono at her most unbridled. On the original, the song gets stuck in an infinite loop on the phrase "words cannot express," the missing link between Munch's The Scream and Black Flag's Damaged I.

There's a sharp irony in the title "Poptones," as the band seeks to subvert notions of dance floor escapism by placing "death" before disco. True news stories of abduction, rape, and escape inspired the lyrics, and what particularly captured Lydon's imagination was the victim's memory of the bouncy music playing from her car's cassette player. This juxtaposition of manufactured happiness and absolute terror is a quintessential post-punk move, exposing pop as a false pretense masking the awfulness of real life: an existential condition for some post-punk groups (fear, doubt), a political one for others (exploitation, domination). In "Poptones," this truth-telling urge produces some of Lydon's most vivid lyrics ("I don't like hiding in these leaves and peat/It's wet and I'm losing body heat"), backed, in a creepy, insidious way, by startlingly pretty music. Wobble's sinuous bass weaves through Levine's sparks and splashes of cymbal smashes (PiL was temporarily drummer-less during the recording of this album).

With PiL still between drummer and drums, Wobble does double duty on "Careering," the bass pounds your rib cage and the kit thumps like a metalworker pounding steel flat. Levine trades guitar for synths, and Lydon's helicopter overlooks the border between Ulster and the Republic of Ireland. "Careering" sounds like nothing else in rock or in PiL's work. Like several other tracks on Metal Box, another band could have made an identity and a career out of this one.

"No Birds Do Sing" is, incredibly, a cut above the previous five. Levine drowns Wobble Dudanksi's murderous groove in a cloud of venomous guitar textures. Lydon surveys the English suburban scene, whose tranquility is a far cry from troubled Northern Ireland, wryly endorsing its "bland, planned, idle luxury" and "well-intentioned rules" (rolling the "r" in a delicious return to classic Rotten-style singing). The "layers of delicate props" and "caviar of silent dignity" alone would be enough to secure Lydon a Nobel Prize in 2026.

"Graveyard" reminiscent of the masterpiece "Shakin 'All Over" by Johnny Kid & The Pirates's early British rock and rock, "The Suit" with a rubbe r-like baseline, the 1979 tribal street violence "CHANT" is a savage snapshot. The end of the album is the Radio Four, which gives unexpected rest and rest. The title is taken from a British public radio station and is a civilized and calm information source that transmits news, opinions, dramas, and light comedy to the middle class in the UK. Like Poptones, it is ironic.

Listening (and reviewing) the Metal Box in a straight line is, of course, contrary to Pil's original intention. As the flat explanations and intentional elucidated titles show, the "Metal Box" was initially shaped in a cylinder with three 45 rotations 12 inches, which is to improve the sound. Not only, but also to enable listeners to play records in the order you like. However, what was once considered to be radical ant i-rockism ("dismantle the album!") Has now become a historic footnote. Because everyone who listens to CDs and other digital formats can sort the content as they like.

And when you listen to the songs given the "Metal Box", what is now transmitted is the overwhelming accumulation power as an album. Conversely, it stands out that this album is, for example, a record that can be quite easy to understand if it is a Red Zeppelin fan. Physically dignified rhythm, guitar violence, and singing. In the 1986 hard riff "album" (recurring as a deluxe box set), which collaborated with old wave musicians like the former cream drummer, Radon immediately has his potential lockism. Will confess. Pil played ZEP's "Kashmir" in the concert. < SPAN> Johnny Kid & The Pirates's early British rock and roll masterpiece "Shakin 'All Over", "Graveyard", "The Suit", a base line like rubber, in 1979. "CHANT" is a savage snapshot of street violence. The end of the album is the Radio Four, which gives unexpected rest and rest. The title is taken from a British public radio station and is a civilized and calm information source that transmits news, opinions, dramas, and light comedy to the middle class in the UK. Like Poptones, it is ironic.

Listening (and reviewing) the Metal Box in a straight line is, of course, contrary to Pil's original intention. As the flat explanations and intentional elucidated titles show, the "Metal Box" was initially shaped in a cylinder with three 45 rotations 12 inches, which is to improve the sound. Not only, but also to enable listeners to play records in the order you like. However, what was once considered to be radical ant i-rockism ("dismantle the album!") Has now become a historic footnote. Because everyone who listens to CDs and other digital formats can sort the content as they like.

And when you listen to the songs given the "Metal Box", what is now transmitted is the overwhelming accumulation power as an album. Conversely, it stands out that this album is, for example, a record that can be quite easy to understand if it is a Red Zeppelin fan. Physically dignified rhythm, guitar violence, and singing. In the 1986 hard riff "album" (recurring as a deluxe box set), which collaborated with old wave musicians like the former cream drummer, Radon immediately has his potential lockism. Will confess. Pil played ZEP's "Kashmir" in the concert. "Graveyard" reminiscent of the masterpiece "Shakin 'All Over" by Johnny Kid & The Pirates's early British rock and rock, "The Suit" with a rubbe r-like baseline, the 1979 tribal street violence "CHANT" is a savage snapshot. The end of the album is the Radio Four, which gives unexpected rest and rest. The title is taken from a British public radio station and is a civilized and calm information source that transmits news, opinions, dramas, and light comedy to the middle class in the UK. Like Poptones, it is ironic.

Listening (and reviewing) the Metal Box in a straight line is, of course, contrary to Pil's original intention. As the flat explanations and intentional elucidated titles show, the "Metal Box" was initially shaped in a cylinder with three 45 rotations 12 inches, which is to improve the sound. Not only, but also to enable listeners to play records in the order you like. However, what was once considered to be radical ant i-rockism ("dismantle the album!") Has now become a historic footnote. Because everyone who listens to CDs and other digital formats can sort the content as they like.

And when you listen to the songs given the "Metal Box", what is now transmitted is the overwhelming accumulation power as an album. Conversely, it stands out that this album is, for example, a record that can be quite easy to understand if it is a Red Zeppelin fan. Physically dignified rhythm, guitar violence, and singing. In the 1986 hard riff "album" (recurring as a deluxe box set), which collaborated with old wave musicians like the former cream drummer, Radon immediately has his potential lockism. Will confess. Pil played ZEP's "Kashmir" in the concert.

When I listen to "METAL BOX" now, the studio processing, which was influenced by the love of PIL's disco and dub at the time, is subtle and relatively relatively calm. As the wonderful and clear studio live version of the concerts at Manchester and the BBC's rock program "The Old Grey Whistle Test", PIL could reproduce this music on stage ( "Public Image" failed). In particular, Levine was surprisingly accurate to reproduce the guitar parts and textures captured in the studio. Even what the band dedicated to reggae and funk, it is now an extension of passion for black music that supported British rock's achievements from the 1960s to the early 70s. can. If you are right next to PIL is pop groups or Slitz, you will be able to line up with Police. Great drummer, roots feeling bass, original guitar, Proggre's secret element (Levine loves Jesus, Rydon worships Peter Hamil), and reggae longing and mental Emotions based on pain.