2 May 2005
It's not only rock 'n' roll - it's art, literature and theory 
The Postpunk Panel, convened at the Boogaloo to celebrate the launch of Simon Reynolds's new book 'Rip It Up and Start Again', saw Richard Boon (ex-Buzzcocks manager), Gina Birch (ex-The Raincoats), Paul Morley (journalist and Zang Tuum Tumb founder) and Jon King (Gang of Four) join Simon for an hour or so's mostly decorous discussion of everything postpunk. Proceedings began with a completely unwatchable due to technical problems "screening" of a probably quite good music video with The Fall, New Order, Joy Division, The Pop Group, Dexy's Midnight Runners and many others.

A few highlights of the discussion itself:

Pretentious, moi?

In talking about the book, Paul Morley said that it was "odd to read it as it was" and, in responding to Simon's accusation, that "I reject your accusation of pretention, yet I accept it."

Mini-gangsters

Richard Boon explained how the first recordings by Buzzcocks came about: "it's not that difficult to press 1000 vinyl... you just need to borrow some money!"

Jon King explained why Gang of Four signed to EMI: "Small labels were generally run by mini-gangsters who didn't pay. It was entirely obvious (that we should sign). Fast Product was not a good idea. We never got paid. It was incredibly funny." King also explained how it helped that GoF owned outright all their recordings and that this enabled them to licence them to all and sundry.

Gloomy Blackpool Disco

Paul Morley put forward the notion that all records should be wrapped in sandpaper ("why isn't the new Rolling Stones wrapped in sandpaper?") and explained how he had been banned by the NME from writing about releases from Factory Records after endless reviews of "gloomy Blackpool disco".

-

Hi to James (thanks for the dvd), Graham and Andy.

Labels: , ,

0 Comments:

Post a Comment

<< Home



- - - -


Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column