Civic Hall Guildford 10th November 1998

 

Here's the last one in my collection from 1998's 'Coup De Grace' tour, presented here as MP3. It was an extensive tour so if anyone has recordings of other dates that they are willing to share, drop me a note.

MP3: https://we.tl/t-bQ26OYRW8X

Artwork: https://we.tl/t-xUMAhKpj98

Ronnie Spector (with Joey Ramone) WNEW Idiot's Delight 7th November 1999

 

I posted a few weeks ago a gig by The Courettes after their support slot on Hugh's recent Nosferatu tour. A reviewer quite recently said of them when trying to pinpoint their sound for the writer's readership, 'imagine if the Ramones met The Ronnettes'... and well, if it didn't happen it got pretty close.

Joey was always big on Phil Spector's 'Wall of Sound' production, even if he wasn't so keen on Phil Spector himself. He liked all of that sixties girl group thing, a style exemplified by The Ronnettes. In 1999 Ronnie and Joey joined forces to the extent that Joey did some backing vocals for Ronnie's 'She Talks To Rainbows' E.P. and also got involved in the promotion of her new release, as was the case with this acoustic session that was broadcast of the long running and influential Vin Scelsa's 'Idiot's Delight' show broadcast on New York's WNEW-FM 102.7 station.

Before Noddy and Roy came along, the soundtrack to Christmas (for those going beyond 'The Coventry Carol' and 'Once In Royal David's City) was provided by Phil Spector and group's such as The Ronnettes.

This acoustic radio session features some of those classic Phil Spector 'Wall Of Sound' tracks as well as a number a covers, 'She Talks To Rainbows', 'Bye Bye Baby' (Ramones), 'Can't Put Your Arms Around A Memory' (Johnny Thunders) and 'Don't Worry Baby' (The Beach Boys).

For a moment forget Shane and Kirsty... this is Joey and Ronnie, the real 'Fairytale of New York'!

Many thanks to Mark for sharing this session with me. Cheers!

Have a good one!

FLAC/MP3: https://we.tl/t-3X3UnFWtj6

Artwork: https://we.tl/t-vlZfTtWDyo

2 Tone Top of the Pops

 

Here's something that I was looking to put together for a long time. The 2 Tone flame burned brightly and intensely... but only for a short time. But in those months across 1979 to 1981 it seemed that the world had turned monochrome, at least for a significant section of record buying teenagers.

This collection of appearances from the UK's long running chart related TV show, Top of the Pops, is not entirely complete. There were more than one appearance of some of the tracks e.g. 'Gangsters', some songs went beyond 1981.... The Beat's 'Can't Get Used To Losing You' and of course Special A.K.A.s 'Nelson Mandela'. Nevertheless, it is a good representation of the 2 Tone genre.

'We don't need no British Movement

Nor the Ku Klux Klan

Nor the National Front

It makes me an angry man'

DVD image: https://we.tl/t-fNhZZsQRCD

Artwork: https://we.tl/t-tx2AR7s55R

Terry says 'Ho Ho Ho!'

The Clash Kōsei Nenkin Kaikan Hall Tokyo 30th January 1982

From the purveyor of pristine sounding gigs, DomP, this one is being posted tonight, one day ahead of the anniversary of the death of Comandante Joe. 23 years gone on 22nd December 2025. To mark it, here is particularly high energy performance by The Clash in Tokyo, their penultimate show in a week of dates in the Japanese capital.

Japanese audiences are famously restrained, but by the sounds of it The Clash managed to smash through that national reserve and some. Sandinista! may in the opinion in some had a side or two too many, but looking at this set covering their five year career to date, who on Earth could complain.

I never met Joe Strummer. I saw him a couple of times (the nearest that I got to The Clash). His band could (and can still) divide opinions, but from what I have read on balance, he was one of the good guys and well, couldn't he just deliver a tune!

This one then is for all of you and of course Joe!

FLAC: https://we.tl/t-Je9j1SrK6I

Artwork: https://we.tl/t-NYmdiMuscx

The Undertones Östdals Hage Katrineholm Sweden 22nd May 1983

 

Here's a Swedish recording from the Katrineholm Festival. European dates followed the UK 'Sin of Pride' tour gigs. A nice varied set and reasonable sound. Many thanks to the original Dime uploader (pata63).

FLAC: https://we.tl/t-ZKJ0yNs0v4

Artwork: https://we.tl/t-n2Rs3u9rRg

01. When Saturday Comes
02. I Don't Know
03. Love Parade
04. It's Going To Happen
05. Untouchable
06. Love Before Romance
07. Teenage Kicks
08. You've Got My Number
09. Julie Ocean
10. Bye Bye Baby Blue
11. Tearproof
12. Bittersweet
13. Beautiful Friend
14. Wednesday Week
15. Conscious
16. I Know A Girl
17. Get Over You
18. Let's Talk About Girls
19. I Ain't Got Nobody
20. Cher O'bowlies
21. Soundcheck

The Undertones 'Sin Of Pride' - The Critics View (March 1983)

'Sin of Pride' was the fourth studio album from The Undertones and their last in their first incarnation. Produced at a time when tensions were rising in the band, its poor sales no doubt contributed to the demise of the band. According to the albums Wikipedia entry, relations between Feargal Sharky and John O'Neill were especially strained around the time of the recording. Interestingly, in the bands interview with Kirsty McNeill in the New Musical Express of 2nd April 1983 (see previous post), it is Damian O'Neill who makes the following comment, "It's good for the development of songs. But there's no way it's good to take a year break for any group - it's ridiculous. I think some of us aren't pulling our weight”. The comment is not elaborated upon but it could be that Feargal was off the Christmas card list of both of the O'Neill boys.

New Musical Express (12th March 1983)

Record Mirror (12th March 1983)

It would appear that despite the issues with the band, in the studio they had been able to pull off a critical success in the eyes of the press at least... sadly though this enthusiasm did not trickle down to the record buying public.

The Undertones Interview (New Musical Express 2nd April 1983)

It's April 1983 and The Undertones return to the UK to tour for the first time in two years, promoting their new album 'Sin Of Pride'. Like many of the 'New Wave' bands who made it through from the heady days of '77 to '79, the 'Tones were facing the up hill battle of staying relevant in an increasingly throw away pop market. They did it with a knowingly '60's tinged album, the aforementioned 'Sin Of Pride'.

I wasn't really listening to The Undertones at the time, only being aware of the single releases coming from their last two studio albums, but as was the case with 'Feline', I have more understanding now as to what they were looking to achieve than I would have had at the time. I imagine that many fans of the band who were looking for their 'Teenage Kicks' in perpetuity found themselves sitting somewhere on the change curve between shock and depression... and that was before Feargal realised his ambition to become a male model for real!

In this short NME interview, Feargal, Michael, John and Damian discuss the challenges of finding new direction.

New Musical Express (2nd April 1983)

TUMBLING OFF the ferry into Liverpool, to tour these shores after a two year absence, The Undertones weren't showing the slightest hint of first night nerves.

Though a declining level of impact might indicate a crisis point in their career, 'The Sin Of Pride' is fresh on the racks brimming with strengths and far and away their most inspired LP to date. 'Got To Have You Back' - a lively interpretation of The Isley Brothers - is making the right moves, and performing live, their music very often surpasses its studio confines. Feargal's in a good mood:
"'Got To Have You Back' has gone in the charts at 83 first week of release, which is in fact the highest first week charting we have ever had. I was really surprised about the whole bloody thing - so I'm very optimistic about it; I really am. Especially when they played it on Round Table the other week and the bass player from Earth Wind And Fire was on and he raved about it.

"When people like that go so Over the top about your records ..... well it was the last thing I expected. So I'm quite pleased with myself, and I'm not afraid to admit it! The main thing that worried me about it was that people would say Oh Jesus, they’ve got no songs of their own. But anyone who has listened to the LP will know that that point is proven totally wrong."

The cheek of 'Love Parade' and the heat of 'The Sin Of Pride', seems to point to a touch (albeit positive) of '60s infatuation. "We were talking to some people from a magazine earlier today, and someone made the remark that the '60s was three people having a party and everyone else looking for it. We don't make a big deal about it though - we're trying to be ourselves and write our own songs and do them the way we know to do them. Perhaps in the way we use melody lines, and especially backing vocals, there may be a connection; but as long as it's a healthy connection then I don't see why not. And it's not like in anyway, shape or form are we sitting listening to '60s records 24 hours a day, stealing every half decent idea they ever had. I think there's a very subtle but important difference between the feel of the song and the actual content and arrangement. I, call it more 'emotion' than '60s.

"I think it's a fairly healthy thing if we actually have some conviction in what we're playing in the studio at that particular minute in time, and if that comes across on record then I'm very pleased about it because it's something we felt a lot of the previous records had lacked. That thing we get playing live on stage didn't come across the same on record. And we had sat around and talked and thought about it a lot, and gone in and tried to get the same emotion. And call it what you want, I'm very pleased about the fact that it has come across. But I wouldn't call it '60s-I would say more that we're being honest about the whole bloody thing instead of trying to make a contrived record."

"I'm listening to a lot of '60s things now and again," offers Dee who has contributed more to this LP than ever before. "Psychedelia, Nuggets, Left Bank. Some of the songs on the LP, maybe you could tell. As long as you don't do it in the way Mari Wilson does it. My girlfriend's from America and she's very '60s, and I heard her LPs and they're brilliant. 'Sin of Pride', the song, was actually influenced by a Left Bank song called' Pretty Ballerina'. I mean it doesn't sound a bit like it, but it was meant to originally. Someone should cover that song because it's so good."

Why choose to release a cover version, rather than one-of your own songs? "Because we want a hit" is Michael's fast reply.

But it's not that well known.

"Well we're certainly not going to go 'Na Na Na Na Hey Hey Hey' ..... It's bouncy and poppy. We just picked it."

The reasoning behind the group's lengthy silence depends a lot on who you ask. Feargal: "I think we were right in doing what we did, because I think the LP is really really good. And at the end of the day if the record's good then we made the right decision rather than just doing a rehash of 'Jimmy Jimmy' 12 times, sticking it out and saying this is our new LP folks - rush out in your millions and buy it."

Michael: "It's better being away two years and coming back with something good, than being there all the time and coming up with something shit."

Dee: "It's good for the development of songs. But there's no way it's good to take a year break for any group - it's ridiculous. I think some of us aren't pulling our weight”.

"You can't force it," Michael answers "If you force it you get stuff like 'My Perfect Cousin' ..... "

"I'm not ashamed of that one bit. I think it's great," replies Dee.

"I am,” retorts Michael "It's trite."

Whatever their feelings on the subject, the absence has highlighted their declining popularity.

“Last year when we were doing naff all and nothing was going right, we weren't touring, had no records out, I wrote 'Untouchable', which is just a song about frustration. After 'Positive Touch', 'Julie Ocean' was released and it didn't do very well; and 'Beautiful Friend' flopped .... 'Untouchable' - it's like you can't reach the charts anymore" says Dee.

"Punk has been a waste of time I think," adds John. "We used to make a big deal about us being ordinary people-like we're no different from anybody that buys our records. And we've suffered from it because we haven't sold that many records. Like' Positive Touch' sold less than 'Hypnotised', and 'Hypnotised' sold less than the first LP. People want To have something to look up to. They want to have heroes…. People want glamour, they want all that. And they don't want anything that's sort of down there. Why are working class people voting Conservative and not voting for the Labour Party? Well it's the same thing - you can relate it in the same way.

"It's a pretty sad reflection ..... You have to think about publicity, photographs. I thought that the way we were was good enough that I could relate to it if I wasn't in the group. And I thought that was great. But it's not that simple. This time now though, it's like starting over again. Partly because we haven't toured England for two years, but also because we've put all this effort into it. Plus this LP - well we think it's a great LP. Great songs."

So there's been a bit of smartening up going on. Any other change in attitude'?

"More arrogant," says Dee. "We're definitely more arrogant. "

"I would call It professional," Feargal offers. "A lot of people were saying we're a great band live. It got to the stage probably in the past 18 months, two years, when we actually got a chance to watch other bands and see what the hell they were doing. And as far as playing live goes, we're fairly good value for money, and that's that. We’re not professional to the extent where we say the same ad-lib lines between the songs. We're not that bad!"

"We haven't got slick ," Dee confirms. "You don't see many groups making mistakes and we are one group that makes mistakes - so there's nothing wrong with that .. "

"It's like a built-in safety mechanism, " adds Feargal. "But I don't think we’ll ever get to the stage where it becomes so rehearsed that it's just a bore live. Because if it seems to be heading that way in rehearsals we just pack up and go home. So that when it comes round to playing in front of an audience there is that little bit extra there, for us to grasp at. That's the main thing that I think makes an Undertones concert different from everybody elses; and why people keep coming back."

They clean their teeth, wash their feet and take to the stage like ducks to water. And it seems perfectly likely that people will always keep coming back.

On TV In 1982 DVD Compilation

 

Without doubt, 1982 was an extraordinary year for The Stranglers. After the dark, misfortune filled period of 1980-1981, new and massively unexpected horizons opened up to the band at the end of '81 and into '82. The band have gone on record attributing this to the fact that the band stepped away from their well publicised interest in the UFO phenomenon. In the first instance I would suggest that other, less otherworldly, factors were coming in to play, such as a change of record company and a move away from hard drugs! The success of 'Golden Brown' took everyone by surprise but it set the band down a path of greater commercial success that was to last for several years. The realisation that there existed an audience for a 'softer' version of The Stranglers was a boon. In addition, the less than amicable split from E.M.I. (who had engulfed United Artists) was fortuitous in that the circumstances around their departure stirred a certain spirit of vengefulness in the band. Contractually obligated to deliver another single they mischievously rerecorded 'Strange Little Girl', a song that featured on very early demos that had been peddled to UK labels, E.M.I. included, only to be roundly dismissed by all. 

DVD disc image: https://we.tl/t-gCYKeZGyXx

Artwork: https://we.tl/t-4WtLVNXtCm

Having made the change from Liberty/E.M.I. the band released 'European Female' on Christmas Eve 1982, their first offering from new label Epic. The single set the tone for the largely acoustic 'Feline' that appeared in January 1983.

Given that 'Golden Brown' and the rediscovered 'Strange Little Girl' effectively defibrillated the band I would consider 1982 to be a watershed year in the band's career, maybe not to the extent of 1990 but very significant nonetheless.

This is a short compilation of most of what is out there as far as TV appearances are concerned. Two notable omissions are the 'Off the Record' TV gig which is available here and the 'No Nukes Festival footage from Utrecht which will get an outing in the not to distant future.

The Concert Hall (Masonic Temple) Toronto 12th April 1983

 

I have a real treat for you here, courtesy of DomP. This is a radio broadcast from the city's CFNY 102.1 FM station of the band playing at Toronto's Concert Hall, a venue also known as The Masonic Temple. I had this listed as a gig on 3rd May 1983, but this date of 12th April appears to be correct and the quality of the recording is wonderful, really one of those in the collection that can be played and played again!

Many thanks to Dom for digging out and sharing this one!

FLAC: https://we.tl/t-m2D0wj7EO6

Artwork: https://we.tl/t-MXRSOpVVf3

Bauhaus Zitadelle Berlin 22nd August 2022

 

For my sins, I use Spotify. I appreciate that they do artists very few favours and with that knowledge, I do try to support the artists that I like by seeing them live and buying as much music in physical form as possible, although the price of vinyl places something of a cap on that! Anyway, through Spotify it is clear what I have been listening to throughout 2025 and there's quite a bit of goth stuff in there!! What's going on? To be fair, I have been rather selective in my 'goth' selections as some of it I still find a little ludicrous. The Sisters of Mercy I can take in small quantities, a Fields of the Nephilim gig is one of the few that I have walked out of and well, Alien Sex Fiend.... I have never gone there.

However, I have played a lot of the March Violets, Xmal Deutschland and this bloke, the troubled Mr Murphy, in particular his new album 'Silver Shade'. Having purchased the latest issue of 'Vive Le Rock' today I feel a little vindicated in my listening choices given the fact that the aforementioned 'Silver Shade' was selected to be number 2 in their listing of best albums of 2025 (Conflict attained the No.1 position).

To my understanding Pete Murphy has had another difficult year on a personal level and that resulted in him pulling out of the summer's 'Forever Now' post-punk festival. For that reason, this gig from the latest Bauhaus reformation in 2022 is the most current material that I can find (if you can call 40 year old material current). Periodically, Bauhaus in some form or other resurfaces for gigs. In 2019 Murphy teamed up with David J to mark the band's 40th anniversary. 2022 saw dates for which all four members of the band left the bell tower for the stage.

Of all the bands that fell under the bat's wing of 'goth', I think Bauhaus did it best (and they didn't even come from Leeds!), but how can you go wrong when your front man resembles the mutant offspring of The Thin White Duke and Nosferatu.

FLAC: https://we.tl/t-o9k2k0aGRO

Artwork: https://we.tl/t-DbXSD9SQvm

Hugh Cornwell Beachland Cleveland Ohio 17th December 2013

 

Actually, I was looking for an anniversary gig to post this afternoon, but then again we are mid way through December, a time of the year when musicians tend to unplug and go to the bar. Hugh on the other hand seems to relish playing in the depths of winter. So, here he is playing in the US on 17th December 2013, plugging the 'Totem & Taboo' album.

FLAC: https://we.tl/t-3kX2EOnWY8

Artwork: https://we.tl/t-yfWot45hAX

PolSat 2 (Polish TV) Interview and Gig Footage March 1999

I stumbled across this 'Coup De Grace' era short feature that appeared on Polish TV back in March 1999. Here, JJ and Paul are interviewed (unfortunately the Polish translation obscures most of what is being said) and in between the footage features live excerpts of live material, presumably filmed at their Warsaw gig played at the time.

DVD image: https://we.tl/t-a4o1lVhqJo

Artwork: https://we.tl/t-xE1oC0jzUv

The Chameleons Parisian Christmas Party with Hugh Cornwell and The Swell Maps 6th December 2025

 

Appreciate that it is very short notice for this one. I only knew that it was occuring 48 hours ago when I was contacted by Lee McFadden who will be amongst the ranks of The Swell Maps tonight. So, in the event that you find yourself in Paris tonight you could do a lot worse than to get yourself down to The Chameleons Christmas Party in Paris. Adding to the festive frollics will the the aforementioned Swell Maps and Hugh Cornwell.

Ruts DC, Misty In Roots, Cimarons Electric Ballroom Camden 4th April 2026 RAR 50th!

 

I do not supposed that the reggae repulsed, gentleman in the Gents at The Garage last week (see previous Ruts DC post) will be shelling out on this gig to mark the 50th Anniversary of 'Rock Against Racism' taking place at the Electric Ballroom in Camden on 5th April 2026.

Ruts DC The Garage Islington London 30th November 2025

 

It felt that this gig was slow to come round, the date that is, not the tempo of the gig! Gunta and I made our way across a freezing cold Islington (narowly avoiding being mown down be several hundred young folk streaking (not literally... not in that weather) down Upper Street on roller skates... quite a sight, last seen in Paris). We reached our rendevous, the Hen & Chickens pub to find a bar full of punk guitarists.... there was Leigh, and Jet (who was in the UK Subs for a time)... and is that Damian O'Neill over there? It was indeed, with two other former members of That Petrol Emotion, so possibly another guitarist. Segs was in the house too, representing the bass players.

It was due to be another one of those early gigs with Ruts DC taking to the stage at 8.30. I was a little concerned at first since that as of 8pm the audience was rather thin on the ground but the venue filled quite rapidly in the minutes before the band were due on stage. I don't think that it was a sell out, perhaps some were deterred by the idea of venturing out on a very cold Sunday night. In the end though the numbers were good. Opening with 'Vox Teardrop' what was to follow was an eclectic set and a long set to boot. Ruts DC have such an extensive back catalogue now that entire albums worth of material can be left out such that there was nothing from 'Rhythm Collision I' or 'Animal Now' to be heard tonight, which is always regretable, but for sure the replacement material in the set more than made up for the necessary omissions.

'Something That I Said' was up next followed by the ever brilliant 'Mighty Soldier', still the best song that the band have written since coming back (and that is in no way meant as a sleight on all the other stuff)... it came with a plea for peace, but I don't thing that Vladimir Putin was there on this night. The first surprise of the night (well I say surprise... but Andy Peart had let on after the Brighton gig.... but that's okay, I have never been one for ducking and diving to avoid knowledge of a set before a gig!) was 'Demolition Dancing'. Before the song, Segs mentioned that it was the 45th anniversary of the 'Grin & Bear It' album so it was time that this one got an airing.

A rousing 'Back Biter' and a brilliant 'Counterculture' racked up the tempo before it was slowed back down for very rare coupling of 'Love In Vain' and 'Give Youth A Chance'. Unfortunately, momentarily caught short at this point, I found myself up against the urinal as a bloke emerged from a Gents cubical shouting 'Are they a punk band or a reggae band? I don't get it. I HATE it when they play that reggae shit!' When there you go, the guy said it himself... he didn't get it... I mean 'Love In Vain'!!!

The night before the band had played in Norwich and on their journing down to London they had cause to pass through Harlow (the town next to me and where I have worked for many years). Segs stated that he had never seen so many flags and grinned without making any further comment.... I suspect like the reggae hating gentleman from the lavatory cubicle, Segs doesn't get it either.... the flag thing that is, and to that point neither do I! Such was the introduction to 'Born Innocent'.

The third 'treat' for the night and once again lifted from 'Grin & Bear It' was 'Secret Soldier' - have they ever played this one before this tour?... I cannot recall. Very, very rarely if they have.

'Bound In Blood' nearly saw us to the end of the first page of a two page set list! With the big hitters, 'In A Rut', 'Babylon' and 'Rude Boys separated by a couple of attacks on bad politicians in the forms of 'Poison Games' and 'Pretty Lunatics'. 

It was an exceptional evening, 90 minutes of brilliant music that did much to reaffirm the fact that intolerance and hatred have not quite yet permeated every part ofthis country.

TVS Television Theatre Gillingham 18th October 1982 DVD

 

I am sure that this is a common scenario for any of us who have invested many years in collecting live material by the bands we love. Some recordings are held in higher regard than others, those of superior quality in either content or sound/vision tend to do the rounds more than others. No surprises there. In the early 1980's The Stranglers played three notable TV gigs. 'Rockstage; from the Royal Theatre in Nottingham in 1980, the 'No Nukes Festival' in Utrecht in 1982 and in the same year, 'Off the Record' in Gillingham. 

These shows were recorded on early video cassette recorders time and time again with a notable decrease in audio and picture quality every time a copy of a copy was made. Thus for the collector multiple copies would be sought in the hope that a better quality 'low generation' copy would turn up. For this reason it is not unusual to have half a dozen versions of  recording, each of different quality. This is very much the case when it comes to copies of the gig that the band played in October 1982 at the TVS Studios in Gillingham as part of the TV stations 'Off The Record' series. As some point it makes sense to try to pin down the best of the bunch and that is what I have done here. This is the best quality version of this 30 minute set of TV gold that I have yet to see.

DVD image: https://we.tl/t-3v1UKV2RjX

Artwork: https://we.tl/t-wQCPEF5EFy

Graeme Mullan (Mully) RIP

Yesterday I was extremely saddened to learn of the passing of Mully. Our paths first crossed on a long weekend in June 1989 when The Stranglers played a handful of consecutive dates across the UK and Ireland. I was 21 then and had never encountered anyone from Belfast, so Mully was quite exotic as far as my world view from Sussex was concerned!. Then as now I was fascinated by the Troubles and he in turn was always happy to accommodate my many questions on the topic. Of course our paths continued to cross on many, many occasions in the years that followed and it was always a joy to see him.

Two particular memories came to mind yesterday when I was thinking about Mully. One was in a hotel somewhere in the Lowlands. Mully had I believe enjoyed something herbal earlier in the day and when we met him in the hotel lift, he remarked that it was great that the lift announcements were made in a Belfast accent... the reality was that Mully was repeating the announcements floor by floor!

On another occasion we were enjoying a pre-gig beer in a pub garden in Frome, prior to a performance at the Cheese and Grain. It was a sunny day and most drinkers were in the pub garden. In such a location the announcement to evacuate the pub and garden as a result of a bomb-scare was very much unanticipated. As people complied, whilst moaning about lost drinking time, I remember an ebullient Mully running around amongst the bemused evacuees laughing in his unmistakable way and loudly declaring in his broad Belfast accent 'This has got nothing to do with me!'

Farewell then Mully, it was a pleasure!

Buzzcocks Top Rank Suite Cardiff 10th May 1978

 

In my view, whilst 1977 could be claimed with reason by the Pistols, The Clash, The Damned and The Stranglers, 1978 belonged to Buzzzcocks. Like the Banshees, whilst Pete and Co were in the vanguard of UK punk it took them a long time to get signed and get an album out. But once UA had their signatures there was no stopping them. Two albums were forthcoming in 1978, 'Another Music in a Different Kitchen' in March and 'Love Bites' in September. With product came gigs and Manchester's Fab Four were hardly off the road in 1978. In March they toured with The Slits, in October and November with Subway Sect and in between times they squeezed in the 'Entertaining friends' tour with friends Penetration. It is from that tour that this little gem comes from.

On record Buzzcocks were very polished, the band benefiting greatly from the presence of Martin Rushent in the producers chair, live they were equally impressive but just that bit more raw sounding.

What a set to die for!

FLAC: https://we.tl/t-oDHrD77veP

Artwork: https://we.tl/t-Xy9HXE1guM

The press were impressed too as evidened by this Record Mirror review of the band's appearance at Aylesbury Friars four days earlier.

BUZZCOCKS
Friars Aylesbury

WHERE have all the hippies gone? Aylesbury you let me down. Whatever happened to your long haired community, I suppose they've swopped their flowing locks for greasy crew cuts. Still its not how you look it’s what you look at that counts. Anyone could look at The Buzzcocks and enjoy them.

The music they are now creating is Universal. Before you think that I am (quite rightly) going over the top, let me admit that this was the best gig I have been to this year .. It was also the first time, and certainly not the last time, I will see The Buzzcocks in '78.

Right then pop pickers, lets do a bit of analyzing for you.

'Another music in a different kitchen', a weird title for an album which established The Buzzcocks as one of the most thoughtful and certainly the most talented new wave bands to emerge. Yes they are a new wave band, simply because they are pioneering a form of music which is full of imagination and mechanical energy. You can pogo to them and of course some morons still persist in showing their appreciation by spitting.

It 's strange how on stage the band keep an incredibly low profile, but still succeed in holding your concentrated attention. Pete Shelley doesn't believe in pretentiou's theatricals, but only has to rely on his distinctive loping Mancunian vocals to gain unconditional acceptance with any audience.

The band all look so ordinary that it makes the sounds they produce seem even more effective. Simple pop songs all with sixties sounding guitar hooks helps to satisfy the spikey head boppers. However the set reaches its climax during the hypnotic 'Autonomy' which has so much sheer 'musikal' originality that it made me wonder why bands like Devo are getting so much publicity when we have true innovators from the far more accessible industrial wasteland of Manchester.

Anyway, never mind the superlatives, here's the Buzzcocks.

PHILIP HALL

Bürgerhaus Stollwerck Cologne 17th November 2015

 

Apologies, it was my intention to upload this onelast week as a 10th anniversary post, but damn it, work intervened. Anyway, here it is, a little late, but it is I think worth it.... a nice sounding full set, audience record of the event. Enjoy!

22/11/2025 - It has been pointed out that this gig was actually played at Bürgerhaus Stollwerck and not at Luxor as advertised. A belated thanks also are due to Peter who originally shared this recording with me. Cheers!

FLAC: https://we.tl/t-UnbWGvUVIG

Artwork: https://we.tl/t-2fIdjQrZWI

The Clash Brixton Fair Deal London 30th July 1982

 

My sincere thanks goes to DomP for this one. The previously posted Fair Deal gigs were lower quality recordings of dates that The Clash played there earlier in the month. The band returned to South London on 30th July '82 for a final London date before hot footing it back to America to consolidate their recent 'Combat Rock' success by means of a marathon four month Stateside touring schedule. Dom informs me that this was the one ocassion that Mick Jones played in front of his Dad. It also turned out to be the last gig that he would play in the capital as a member of The Clash.

A word about the recording then. The majority of it is soundboard sourced. The set is completee with a handful of audience sourced tracks in the middle of the set, each marked with an asterisk. DomP has renmastered it so that it is sounding great!

Thanks Dom. I appreciate the share!

FLAC: https://we.tl/t-lScwCoN1CU

Artwork: https://we.tl/t-GP7vKHosnZ

O2 Academy Sheffield 23rd March 2012

 

One from 2012's 'Giants' tour here and a night out in Sheffield. This was the set that contained 'Shut Up', a welcome hangover from the 'Black and White' set that the band played at the 2011 Convention. For some reason, this crowd favourite didn't make it into the 'Black and White' tour that the band undertook in 2016. 

FLAC: https://we.tl/t-kKfHhMY3TM

Artwork: https://we.tl/t-YiPxS7iiap