I always love seeing these pieces. That sense of possibility: "There's this new band called The Clash. They could be big!"
The Sounds writers did pretty well, on the old wave as well as the new. Sources suggesting Fleetwood Mac's new album could be a good one...
Interesting to see "new wave" being deployed already by January 1977: I had always thought of it as the marketing term used a year or two later to tidy up the Punk revolution.
And that is future novelist Tim Lott making the case for Cado Belle, isn't it? Not a terrible pick: although they never made it big, Maggie Reilly sounds great on those Mike Oldfield hits.
New Wave was a term used quite early I think. Malcolm McLaren preferred it to punk, possibly because he was a Francophile and a cineaste, so it reminded him of the Nouvelle Vague. Seymour Stein was another one pushing for 'New Wave'.
Is this the first example of the sanitised, orthodox and asinine take on The Clash, that American-dominated opinion which holds The Clash to be a superior rock band which achieved their full potential when they ditched all that punk claptrap (see also: the championing of Elvis Costello as punk's saving grace)? I find that the American heralding of the virtues of musical slickness and professionalism flosses my helmet red-raw.
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in response to someone hailing jungle-in-1995 as the genre's mature peak,
and using the phrase "*adulthood - a zenith of identity*" - i.e. when the
genr...
Those Horny "Horns" (slight return)
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Always felt this tune by Dev, "In the Dark" - my fave single of whatever
year that was - was a UK garage flashback / rip-off.
And now I realise that the...
You know the score
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Son vaults ahead of father by joining the select grouping of music critics
who have had diss songs aimed at them by aggrieved musicians. In this
case, the...
The Parental Voice in Pop
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"*We gave her most of our lives.... never a thought for ourselves...*"
"*We only wanted to be loved*"
(always taken it to be meant as a clinging moth...
Future Shock / Techno Rebels
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1972 program based on Alvin Toffler's best-seller, with a wonderfully grave
narration from Orson Welles and occasional shots of the great man wandering...
retrochat
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I had a very interesting and jolly chat with *Adina Glickstein *for the
arts magazine *Spike *on the subject of nostalgia and retrokultur, touching
on ma...
Blogging!
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*director's cut of piece in the The Guardian, roughly a year ago - with
the follow-up blog pieces below*
I started blogging in 2002. Prior to that I’d ...
angel delights
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https://rada-ve.bandcamp.com/track/saturn-rings-songs
*Go on* - listen to that gorgeous bubble bath of synthtronica!
Another vintage release, with a vi...
I always love seeing these pieces. That sense of possibility: "There's this new band called The Clash. They could be big!"
ReplyDeleteThe Sounds writers did pretty well, on the old wave as well as the new. Sources suggesting Fleetwood Mac's new album could be a good one...
Interesting to see "new wave" being deployed already by January 1977: I had always thought of it as the marketing term used a year or two later to tidy up the Punk revolution.
And that is future novelist Tim Lott making the case for Cado Belle, isn't it? Not a terrible pick: although they never made it big, Maggie Reilly sounds great on those Mike Oldfield hits.
New Wave was a term used quite early I think. Malcolm McLaren preferred it to punk, possibly because he was a Francophile and a cineaste, so it reminded him of the Nouvelle Vague. Seymour Stein was another one pushing for 'New Wave'.
DeleteIs this the first example of the sanitised, orthodox and asinine take on The Clash, that American-dominated opinion which holds The Clash to be a superior rock band which achieved their full potential when they ditched all that punk claptrap (see also: the championing of Elvis Costello as punk's saving grace)? I find that the American heralding of the virtues of musical slickness and professionalism flosses my helmet red-raw.
ReplyDelete