THE FLYING LIZARDS @ 45

 

Marking its 45th anniversary today is the debut eponymous LP from The Flying Lizards, which was released on July 28th, 1979. It became an underground hit as a sort of novelty post-punk album, driven by the success of their cover versions of the songs, Money & Summertime Blues. Like Public Image Ltd at the time, the group took the essence of dub style production and applied it to the realm of eccentric pop music, creating an art-house experimental collective of musical subversion.

Formed and led by record producer David Cunningham, the group were a loose collective of avant-garde and freely improvising musicians, including David Toop and Steve Beresford as instrumentalists, with Deborah Evans-Stickland, Patti Palladin and music journalist Vivien Goldman as the main vocalists. Based on the surprise success of their broken down versions of Money and Summertime Blues, which were recorded in Cunningham's living room, Virgin Records extended their contract and financed the production of their debut LP. With label backing in hand, Cunningham proceeded to fill out the rest of the album with a pastiche of odd, incongruous and inexplicable variants on the principal theme established with the album's preceding singles, of warping familiar pop tropes into bonkers, inside-out re-contextualizations of what a pop song could be. As a continuous listening experience, the album evolves from the strangely familiar into the utterly alien, as progressively more dense dub effects are slathered onto the mix. In terms of sheer weirdness, perhaps only The Residents were colouring as far outside the lines as The Flying Lizards at that time.

The album was a modest success in the UK and other markets, but subsequent albums under the Lizards moniker proved to be much less successful. Two follow up albums came in its wake, but it was an unreleased album of pure dub reggae, The Secret Life of the Flying Lizards, recorded before this debut, that was the only release to eclipse this in terms of artistic achievement.

PSYCHIC TV - TEMPORARY TEMPLE @ 40

 

Recorded at a guerrilla performance on July 28th, 1984, Psychic TV's Temporary Temple turns 40 years old today. Released in January of 1988 as volume 9 in thee 23 live album series, it included the final voucher necessary to send in to Temple Records in order to receive the free 10th album, which turned out to be a studio album picture disc, colloquially referred to as "Album 10", or "Psychedelic Violence".

The Temporary Temple recording itself was captured as part of a Temple ov Psychick Youth tribal ceremony conducted at a squatted derelict circular building in Drayton Park, London. The event nearly didn't take place as police were spotted in the area prior to the attendees setting up for the performance, but the coast was eventually considered clear and gear and facilities were set up for the show. Musically, the material captured for the record encompasses purely improvised extended instrumental jams, with the LP only identifying each side with a symbol rather than a title. The music is essentially tribal ambience, with percussion and guitar tonalities interwoven across the side long pieces. Nothing approaching recognizable songs is included in the release. Its intent and purpose were entirely ritualistic in nature, functioning as a rallying call to TOPY members in the area to gather and celebrate their community.

PUBLIC IMAGE LTD - THIS IS WHAT YOU WANT... THIS IS WHAT YOU GET @ 40

 

Celebrating its 40th anniversary today is the fourth "official" Public Image Ltd. studio LP, This Is What You Want... This Is What You Get, which was released on July 6th, 1984. I use the qualifier "official" due to the fact that the unfinished and aborted Commercial Zone album was surreptitiously released by jilted former founding member, Keith Levene, in January of that year on his own independent label imprint. His version of the album contained the original recordings that had been created throughout 1982 & 1983 at Park South studio, NYC, up until his unceremonious dismissal from the band by John Lydon following a dispute over an alternate mix of the single, This Is Not A Love Song. Following his departure, Levene spirited away master tapes from the session to release on his own mix, leaving remaining members, John Lydon and Martin Atkins, holding an empty bag when it came time to produce an official version of the album for Virgin Records.

Lydon and Atkins returned to the UK after their 1983 Japanese mini tour, for which they'd hired a trio of New York lounge musicians to fill out the band's empty slots vacated by Levene and bassist Pete Jones, who departed of his own accord immediately after Keith's sacking. Once in the UK, they set up at Maison Rouge Studios and began to rebuild the album from the ground up. Five of the Commercial Zone songs got a reboot, including "Bad Life" (originally titled "Mad Max"), "This Is Not a Love Song" (originally titled "Love Song"), "Solitaire" (entitled "Young Brits" on the second pressing of Commercial Zone), "The Order of Death" (originally titled "The Slab"), and "Where Are You?" (originally titled "Lou Reed Part 2"). Two new songs were recorded from scratch: "The Pardon" and "Tie Me To the Length Of That", with the latter being improvised in the studio with Lydon and Atkins playing all the instruments. For most of the rest of the album, the NYC lounge musicians, plus a few others, worked as session players. The track, "1981", was actually an outtake from the Flowers of Romance sessions, though some minor overdubs were added to bring it up to snuff for the current LP.

Though PiL had scored a hit with the single version of This Is Not A Love Song, using the Park South recordings with Levene and Pete Jones, the album was received with a large degree of ambivalence, feeling like the soul of the band had been supplanted by the use of faceless studio musicians. Only "Tie Me To the Length of That" really offered any sense of proper PiL music, principally because it lacked the sterile presence of studio hired guns. Still, the album's version of "The Order Of Death" has popped up in numerous soundtracks over the years, including the 1990 science fiction-horror film, Hardware, and on the soundtrack to the 1999 horror film, The Blair Witch Project. It was also featured in the Miami Vice episode "Little Miss Dangerous", the Mr. Robot episode "eps2.7_init_5.fve", and the Industry episode "There Are Some Women...". It also appears in Season 2 Episode 6 of The Umbrella Academy when the Hargreeves siblings take the elevator to the Tiki Lounge to meet with their father. Finally, it appears in the 2023 remake of System Shock, as the music for the end credits.

When it came out, I was at the tail end of my obsession with the band. After the stunning artistic breakthroughs of their first three albums, Commercial Zone felt like a bastard echo of what might have been, while its troubled twin felt like a synthetic imposter version of the band. The release of the Live In Tokyo album, which sounded even more shallow and perfunctory as an imitation of the band, had driven the sense of demise further into the ground. In a sense, TIWYW...TIWYG feels like a capstone to the PiL story, at least as far as the project being a real band. After that, it seemed more like a Lydon solo project, and the sense of musical innovation felt like it had left the building. Without the presence of Keith, Wobble or Martin, who left after touring to support this album, the game had changed and the rules were all different, so I was pretty much out as far as following the band, at least to the degree that I'd been enraptured by them during their heyday.

THE B-52'S @ 45

 

Released on July 6th, 1979, the eponymous debut LP from The B-52's turns 45 years old today. At a time when "punk" had broken rock music back down to its basics and "new wave" was looking towards a more adventurous and experimental future, The B-52's offered up an anachronistic slab of nostalgia for an era of polyester beach parties and piled high hair-dos, with hyped-up teens twisting in the dunes with aliens from other worlds and creatures crawling up from the surf. Like The Cramps, who evoked a vintage, retro-kitsch obsession with B-movies and trash culture, The B-52's were a throwback to another era, with their twanging surf guitars, teeny wheezing organs and infectious back-beats. But where The Cramps offered up a soundtrack for lascivious late-night back-alley bar crawling, The B-52's were an upbeat party band, born in a beach hut and destined to make you dance.

The group came together in Athens, Georgia, in 1976, emerging at the dawn of the punk revolution, but rather than building their aesthetics from safety pins, leather jackets and spiked hair, they went to the thrift store and raided the leftovers of '60s hipster party dregs, snapping up the towering wigs that gave the band its name. They popularized the introduction into youth culture of the queer inspired "trash-couture" that had been festering in the midnight movie screenings of the films of John Waters. He and his cohorts had set the tone for the band with their pink flamingo lawn ornaments and other trailer trash accoutrements. It was all done for pure fun and was impossible to resist once you got a taste of it.

The band recorded their debut at Compass Point Studios in Nassau, Bahamas, with Island Records founder Chris Blackwell producing. His approach to recording was to capture the band as cleanly and closely as possible to their live sound, so there was very little use of studio effects or even overdubs. The result was a bright, spacious sound that captured all of the dynamics of the group with no frills or distractions, creating an immediacy that pushed the impact of their music to the fore. It was a perfect approach to take as you get to hear the band in a completely unadulterated presentation where the listener can connect as directly as possible for a studio recording.

The album became an immediate commercial and critical success, catapulting the band into the spotlight, with appearances on shows like SNL helping to secure the group's spotlight. I have a very clear recollection of spotting the album on the new release display wall of my local record shop back in 1979. I was all over anything new and weird looking, being a 16 year old on the prowl for anything odd and "out there". Seeing that bright yellow cover with the cutout photo of this wild looking, big haired band was an instant eye-catcher, and I had no hesitation about plunking my hard earned money down for a copy. And I was most definitely not disappointed when it hit my record player. The twang of those surf guitars, the cheesy organ, the whip smart drumming and the kinky vocals were all so fresh sounding, though also bizarrely nostalgic. They definitely had a sound that was all their own. It's still an album that holds up after nearly half a century of listening. It can't age because it's so perfectly preserved in its own amber.

IGGY POP - NEW VALUES @ 45

 

Released in July of 1979, Iggy Pop's third solo studio LP, New Values, turns 45 years old this month. After a duo of relatively successful "come back" albums produced by David Bowie during his "Berlin" era in 1977 (The Idiot & Lust for Life), Iggy opted to work with former Stooges collaborator, James Williamson, as producer for New Values. Iggy had last worked with Williamson on the Kill City album, which was an attempt to revive the Stooges that kinda burned out before it could really catch fire, albeit it has since become a cult favourite in Pops catalogue. Though Williamson was previously known for his guitar work, that job would predominantly land in the hands of former Stooges piano player, Scott Thurston. Both Williamson and Thurston would contribute to the songwriting on the album. Their collective efforts would result in an album that won a lot of critical praise, but its commercial appeal lagged behind what Pop had achieved with his two Bowie produced prior LPs.

New Values was my gateway into the world of Iggy Pop, thanks to seeing the videos for I'm Bored and Five Foot One on The Midnight Special. Those were enough to get me to pick up the album, and once I did, I was further psyched by its ferocious title track, which remains one of my all time favourite Songs by Iggy. With its blistering guitar riff and ambivalent lyrics, it was perfectly apropos of the era's burgeoning "Gen X" sense of disconnection with the morals and priorities of a world that was about to dive head-first into a decade of "Reaganism" inspired greed and sociopathy.

NICK DRAKE - FIVE LEAVES LEFT @ 55

 

Released on July 3rd, 1969, the debut LP from Nick Drake, Five Leaves Left, turns 55 years old today. While initially met with critical and commercial ambivalence, in the wake of his tragic death only five years after its release, its status has become elevated over the past half century into being recognized as one of the greatest folk rock creations of the era.

Drake suffered from depression and anxiety, which manifested in the deep melancholy of his music, with his recordings affecting a much more introspective and haunted incarnation of Donovan. His singing style, to my ears at least, contains that same kind of wispy delicacy, though his lyrics turn into existential insecurities, as opposed to hippy idealism. It's the kind of morose introspection that, a decade later, would find a welcome home in the post-punk-turned-Goth malaise of performers like Robert Smith of The Cure.

The album was produced largely via fully live performances with no overdubs. Drake would set himself up in the middle of the studio where he'd perform his vocals and acoustic guitar while being surrounded by the other musicians in a semicircle formation, utilizing the studio's tiered layout to create unique acoustic environments through the positioning of players on different levels. The title of the album is a reference to a particular brand of cigarette rolling papers, which had the message "five leaves left" stamped on the appropriate paper near the end of the pack.

Upon its release, it received mostly lacklustre commentary from the critics of the day. Disc and Music Echo described the album as "interesting" and said, "His guitar work is soft, gentle and tuneful; his voice highly attractive, husky and bluesy—but his songs uncertain and indirect." It concluded, "It's more a restful album than a stimulating one." Perhaps the subtlety of Drake's style simply failed to make an impact at the time, but age has revealed its true depth and passion, allowing the emotional complexity of his songs to grow and find the appreciation they rightly deserve.

Drake's career would prove to be sadly short, with the artist only releasing two more LPs before withdrawing from performing and recording after the third in 1972. He retreated from the music business to his parent's home in rural Warwickshire, where he was eventually found dead of an overdose of antidepressants on November 25, 1974. He was only 26 years old. While his career was active, he gathered only limited attention from music collectors, remaining an obscure, mostly forgotten artist through the remainder of the decade, but that all started to change with the release of a retrospective compilation in 1979. Since then, he's received many accolades for his work, with his catalogue receiving numerous reissues and critical reappraisals.

I only discovered these works in the early 2000s as I was on the lookout for unfamiliar music from the late 1960s. Once I heard these albums, I couldn't believed I'd never encountered this music before. Since then, Nick Drake's music has become a go-to whenever I'm looking for something to put me in an introspective, plaintive mood.

PARLIAMENT - UP FOR THE DOWN STROKE @ 50

 

Celebrating its golden jubilee at 50 years old is the sophomore album from George Clinton's Parliament, Up for the Down Stroke, which was released on July 3rd, 1974. While the band had released a debut LP in 1970, Osmium, classic Parliament really begins with this album, which was their first release on Neil Bogart's freshly minted Casablanca Records. Along with KISS, Parliament would help bring that label to unprecedented heights of success in the later half of the decade, with Parliament's massive stage show positioning them as the black music equivalent of their makeup masked heavy metal peers on that label.

The album's title track was released as a single and helped begin the group's rise to stardom, remaining one of the most iconic and recognizable tunes from the entire P-Funk discography. The album also proved to be a pivotal reunion with bass master, Bootsy Collins, who'd taken a two year hiatus away from the P-Funk collective prior to recording this album. His return to the fold would solidify his position in the group and he would remain an integral contributor throughout the band's entire residency with Casablanca. Parliament would run their career in tandem with Funkadelic, along with numerous other side projects, throughout the decade, building a massive P-funk network of performers and products.

THE CRAMPS - GRAVEST HITS @ 45

 

Celebrating 45 years on the shelf this month is the debut EP from The Cramps, Gravest Hits, which was released in July of 1979. The 12" EP compiles both of their prior 1978 released 7" singles, Human Fly b/w Domino, & Surfin' Bird b/w The Way I Walk, and adds a fifth track, Lonesome Town. All of the included recordings were produced by former Big Star front man, Alex Chilton and were all recorded in 1977 at Ardent Studios in Memphis, TN. Collectively, these recordings constitute some of the earliest examples of the rockabilly revival, which would later be characterized as "Psychobilly" due to its grafting of sleazy horror and science fiction B-movie themes with this foundational genre of American 1950s era rock 'n' roll.

Lux Interior (born Erick Lee Purkhiser) and Poison Ivy (born Kristy Marlana Wallace) met in Sacramento, California, in 1972. In light of their common artistic interests and shared devotion to record collecting, they decided to form the Cramps. Lux took his stage name from a car ad, and Ivy claimed to have received hers in a dream (she was first Poison Ivy Rorschach, taking her last name from that of the inventor of the Rorschach test). In 1973, they moved to Akron, Ohio, and then to New York in 1975, soon entering into CBGB's early punk scene with other emerging acts like Suicide, the Ramones, Patti Smith, Television, Blondie, Talking Heads, and Mink DeVille. The lineup in 1976 was Poison Ivy Rorschach, Lux Interior, Bryan Gregory (guitar), and his sister Pam "Balam" (drums), later replaced by Nick Knox (formerly with the Electric Eels) in 1977 by the time they started recording their first singles.

I remember when I first spotted this on the shelves of my local record shop, which was in a small strip mall next to the Burger King I worked at in 1979, when I was 16 years old. I glanced at that cover for weeks, every time I popped into the shop before or after work, and always felt vaguely uneasy about it, though also intrigued, until I finally plucked up the nerve to give it a shot. I was into "new" music at that time, "punk" and "new wave", but these folk didn't seem to fit into either of those slots. There was something "out of time" about them that didn't quite align with the other trends of the day. I wasn't even sure when the record was actually recorded. It looked like it could have been something from another decade. And the band were SO gnarly looking, especially Bryan Gregory, who looked like he was 60 years old, with his gaunt menacing glare and that shock of grey hair hanging down the side of his sunken, ghoulish face.

When I finally brought it home, Human Fly sounded so fucked up that I wasn't even sure what speed to play the record at. After I got that sorted, I immediately became enthralled by the odd spookiness of it all. The fact they had no bass guitar, but instead used duelling twang vs fuzz guitars, with only Knox's kick drum anchoring the bottom end, gave their sound a distinctive edge. What was even more surprising to me was the day I came home from school to find my mother had been listening to it! She was once a teenage bobby soxer in the '50s, so their rockabilly vibe caught her ear. It was quite a surprise to me when she actually dug one of my freaky records!

Years later, I got a chance to see them live, twice in the 1990s, which immediately reaffirmed why I've always loved the band, ever since this amazing record found its way into my collection.