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| REVIEWS continued Sid And Nancy Special Edition DVD This film divided its public on its release back in '86, and still does today. It seems you love it or you loathe it. Opinion can be slotted into two distinct camps fairly easily. The wider public, at whom the film was aimed, or fans of the band. The former generally love it, the latter tend to be less fond. But why such a differing of views? Director Alex Cox and his co-writer Abbe Wool certainly had the best of intentions. As Alex Cox states in the accompanying documentary, his project was given a sense of urgency by his desire to get there before Hollywood (who were threatening a version starring Madonna... now that would have been awful), while the fantasy ending was fashioned to appease the powers that be, who like a "happy" ending . Let's list the evidence for and against. For: Gary Oldman (a touch old, but remarkable nonetheless), Chloe Webb (underrated terrific performance), well paced story telling - all main bases are touched as the script strides towards a conclusion without ever flagging. Against: Anachronisms abound (mohicans in '77, cover of Sid's posthumous single Something Else adorning his wall, to name but two); punk clichés; Perry Benson's portrayal of Paul Cook (oh dear...); Drew Schofield's scouse Johnny Rotten; Sid going awol during the boat trip gig; the murder scene; and THAT ending. Part artistic licence, part carelessness. On balance, the cons appear to outweigh the pros. BUT, I am a Sex Pistols fan, a nitpicker with a vision of how I think the film should be. And there lies the problem. For a fan, it's hard to ignore the faults. There is no doubt, it could and should have been better. However, people love this movie. They loved it then, and twenty-one years later, new - usually young and usually female - recruits continue to be made. I know it, my email tells me. There are many fans of the Sex Pistols who made their first tentative steps into becoming devotees as a direct result of Sid And Nancy. I hadn't watched this film for over a decade until I received a copy of the new DVD Special Edition. I'll never love this film, I can't totally prise myself out of my fan mentality - let's face it, we all know too much. However, I put my prejudices aside, and watched it purely as a film; and it wasn't half bad. But it suddenly hit me. I know why this film remains so popular. Sid And Nancy is not a gritty rock 'n' roll biopic, it's a full on chick flick. As chick flicks go, it makes for a gripping romance. The Special Edition includes the film trailer, and a brand new 45 minute documentary, Love Kills, which marks the directorial debut of author Alan Parker. He's managed to round up not only Alex Cox himself, but also Tony London, who played Steve Jones, and Perry Benson, who played Paul Cook. Glen Matlock, who oversaw the recording of the Pistols music for the film, recalls his own involvement. Did you know he actually played himself in the film? Watch the documentary to find out where. The documentary also pays a visit to Pindock Mews, where Sid and Nancy shared a flat. Although welcome, this segment is an exterior night shoot, and feels a little rushed, as though someone is going to tell the crew to clear off at any second. Perhaps a return in the daytime may have helped get a better feel for the location. No matter, it is a solid documentary with Alex's current perspective acknowledging both the weaknesses and the strengths of the film. A mention also for the commentary by Alex and Drew Scholfield. Although it's appeared before on DVD, if you've not heard it, it's worth a listen, and proves a useful way of having the cameos pointed out, including Courtney Love's debut film appearance. Sid And Nancy Special Edition DVD is out now. Review by Phil Singleton (May '07) Vicious White Kids Track Listing: C'mon Everybody / I'm Not Your Stepping Stone / Don't Gimme No Lip / I Wanna Be Your Dog / Belsen Was A Gas / Chatterbox / Tight Pants / Something Else / My Way / 30 minute interview with Rat Scabies and Glen Matlock. Released to coincide with Sid's 50th birthday, the CD is a recording of the now legendary 'Sid Sods Off' gig, held at London's Electric Ballroom on 15th August 1978, which in addition to Sid, featured Glen Matlock, Steve New, and Rat Scabies. Although the group was collectively known as the Vicious White Kids, the show was to all intents and purposes a Sid Vicious solo performance, designed to raise money to pay for his relocation to New York. The concert itself can never be described as a classic. It is however of historical importance, with it being Sid's only solo gig in the UK. Similar in performance and recording quality to 'Sid Sings', the band knock out the set with plenty of energy, with a couple of between-songs remarks from Sid. There is strong evidence that an even more complete version of the evening exists, although for the time being at least, that remains elusive. The 30 minute interview with Glen Matlock and Rat Scabies, conducted in the early Nineties, is in many ways more interesting than the concert itself. Glen and Rat were brought together to discuss the concert and how it came about, but in addition, they have a lot of interesting anecdotes about the early days of punk. You won't want to listen to the concert every day of the week, but if you've not got it in your collection already, this new edition is a worthwhile acquisition, if only for the gig's place in Pistols' history. The material has already been available a number of times before, including a previous release by Sanctuary in 2001 (CMRCD372). While that disc was let-down by its poor design and insert, this time the booklet is a good one, with detailed notes and a much improved cover. I noticed to my surprise, half a page taken up with the God Save The Sex Pistols "Sid" logo designed by myself! If only they'd asked me if they could use it, I would have been happy to provide a high resolution version............ Review by Phil Singleton (5th May '07) The Slits. Maxwell's in Hoboken, New Jersey - 2nd November 2006 My friends and I were driving through the Holland Tunnel, which connects New York to New Jersey wondering what to expect from our first "Slits" show. I've seen Ari Up twice before. Once, she opened for PiL's drummer Martin Atkin's group Damage Manual at a club called Wetlands in New York, and once at the Joe Strummer tribute show at Irving Plaza in NYC. The first person to walk in was Hollie Cook (Paul Cook's daughter). She was very friendly, and wearing a Sex Pistols T-shirt. We were talking about her singing career, and about a Japanese soundtrack that has a song by her, as well as some work that she was doing with Glen Matlock. The next person to walk in was John Lydon's step daughter Ari Up. She was wearing a red winter coat, color foot stockings and very cute skirt. She walked up on stage, and layed on the floor with her jacket covering her as the rest of the band was setting up. Well, what we have here is "The Sex Pistols Dynasty". A very Sex Pistols family related show. The band started playing. They sounded great with their Punky Reggae type songs. Ari got on the mic and shouted out that they were the originators of this type of music along with The Clash and Public Image Ltd.. Nice shout out for her step dad! (Indirectly). They also performed songs from their new EP, Revenge of The Killer Slits which includes, Paul Cook on drums, Hollie Cook on vocals, and Adam & The Ants guitarist and writer Marco Pironi. After the show the band stayed and talked with the fans and autographed copies of their new EP, as well as CD's and original LP's that fans brought with them of their album, Cut. This tour is on HIGH ALERT, meaning that it should not be missed by any Sex Pistol, PiL, Professional fan that visits this website. Review by Eliot Wien, NYC (3rd Novemer '06) Spunk (Sanctuary Records Castle CMRCD1376 / CMQLP1395)
We've had This Is Crap and No Future UK?, but for some reason there has never been a CD re-release, in its original format, of the original grand-daddy bootleg of them all. Spunk. Until now. Sure, you can get the songs on the aforementioned releases, but here you get the album as intended, complete with those spoken word clips omitted elsewhere. Spunk is an album that has grown with stature over the years. It sounds better now than it did on its original release when it had to compete with Never Mind The Bollocks for the affections of the fans. It's an album pretty much of two distinct sets of material split over the two sides. Side one contains Seventeen, Satellite, No Feelings, I Wanna Be Me, and Submission, all recorded during the Sex Pistols' second studio session, which took place 13th to 30th July 1976. These songs were produced by Dave Goodman at Denmark Street and Riverside Studios. Anarchy In The U.K rounds off side one and is taken from the band's next trip into the studio with Dave Goodman, on 10th October 1976, at Lansdowne Studios (not Wessex as often incorrectly stated). Side two contains No Future, Problems, Pretty Vacant, Liar, E.M.I, and New York, all of which were recorded during the final Goodman produced sessions which took place 17th to 20th, 24th, 26th & 28th January 1977 at Gooseberry Studios / Eden Studios. The importance of Spunk cannot be overstated; it is the only true album of the Pistols as a working four piece. Glen Matlock had, in fact, already played what would turn out to be his last show with the band on 7th January, ten days before the January 19'77 recordings began. Glen departed the group the following month. Spunk catches the Sex Pistols as a band in its creative ascendancy, relatively unaffected by the label "punk" and the trappings of chaos, which embalmed them during 1977. Dave Goodman, the Pistols' soundman, although not the greatest producer, was in the right place at the right time and, importantly, understood the band's strengths. Perhaps his weakness was, while the Sex Pistols evolved at a rapid pace, Dave's approach did not. Nevertheless, Spunk, the album dubbed "the alternative debut", harnesses the Sex Pistols energy in all its erratic glory, as they make their leap from the unknown into the public consciousness, changing all before them. The CD, an essential item, comes with three additional tracks which first appeared on the bootleg No Future UK?. However, perhaps of most interest to collectors has to be the vinyl LP, limited to 1000 numbered copies. It's a chance to relive the excitement of the original 1977 vinyl issue. Complete with replica labels based on the original release, it also comes with an insert with sleevenotes written by myself. This is a major release which is expected to attract well deserved press coverage. Well deserved because it is more than the ultimate punk bootleg, it's a terrific album in its own right. Review by Phil Singleton (2nd July '06) The Punk Rock Movie DVD EMI Cat no. 358 0129 UK Release Date: 27th March 2006 Starring the Sex Pistols, The Clash, Slaughter & The Dogs, Generation X, The Slits, Subway Sect, Wayne County & The Electric Chairs, Eater, Siouxsie & The Banshees, Johnny Thunders & The Heartbreakers, and X-Ray Spex. First, the technical stuff. In order to achieve 16:9 (widescreen), as you would imagine, information is lost at the top and bottom of the picture. The groups and song titles have therefore been recaptioned. Don't expect a big leap in picture quality, after all, as Peter Clifton describes in his commentary, it was "bloody awful, but it was punk". The audio can be listened to in both Dolby Digital Stereo 2.0 and Dolby Digital 5.0. On to the film. What else is there left to say that hasn't already been said about this movie? A priceless document of the time, filmed at various venues including the Sex Pistols at the Screen on the Green, footage from the final night at the Roxy Club, as well as, amongst others, The Clash, and Johnny Thunders on tour. The infamous 'needle' sequence, missing from most prints of the film, is included. The sound is excellent, although the occasional re-dubbing of a live track with the studio version is frustrating, especially on White Riot. Thankfully, the Pistols material is not affected. The commentary: Peter Clifton has clearly spent time putting together a detailed script that delivers biographies of each group as they appear, ensuring that if you did not know about the groups in this film before you watch it, you will by the end. He gives the history of punk in 85 minutes! He also tells the story of how the movie came to be, including tracking down Don Letts, and how they overcame the technical difficulties working with Super 8 film. Despite the format's limitations, he clearly felt it was the only way to film it. He shows particular fondness for Siouxsie and the Banshee's song Carcass, and tells a 'new' story about filming the video for Public Image involving Sid Vicious. I won't spoil it for you. The interview with John Lydon was conducted in Sydney, and althougth the caption states 1983, it's more likely late '84 / early '85, (this is nit picking!). Peter seems intent on referring to the 1960s, which John picks up on, pointing out he wasn't influenced by it! It's a fun, and rare, interview that gives a clear indication of where he was coming from two decades ago, as he reflects on the Pistols and discusses PIL, while at the same time fending off Australian insects. It's a warts and all piece of filming that even includes Peter's cutaways! This Widescreen Special Edition DVD is, without doubt, producer Peter Clifton's baby. It is certainly worth getting, but the definitive, Don Letts version, still eludes us. Review by Phil Singleton (February '06) Punk Icons - the Sex Pistols. The Ultimate Review (Music Reviews Ltd) The latest unauthorised Pistols DVD. This is basically a 1 hour documentary telling the story of the band from its origins, via the Swindle, the McLaren court case, through to the reunions. After the appalling Music Box DVD, this surely had to be better. Thankfully it is. First off it contains new interview material with Glen Matlock, which is the main selling point. As always, Glen's recollections are insightful and well worth a look. However, apart from two brief appearances by Don Letts, journalists are drafted in to tell the story and fill the gaps. They do a competent job, but the documentary lacks the authority that a few more interviews with the group's inner circle would have lent to the project. This is at its most noticeable when the story tackles the Sid and Swindle periods. Clips from The Punk Rock Movie, The Great Rock 'n' Roll Swindle, Live at The Longhorn, etc. are used to illustrate the narrative, but annoyingly, a union jack flag effect is superimposed over the clips. Basically, if Punk Icons was a TV documentary, it would work as a reasonable stab at the story of the Pistols. Although it is vastly superior to the Music Box release, it still has to be said that old fans will learn little. The Glen footage is good, as is the discussion of Pretty Vacant and closing words from Don Letts, but the rest is far from essential. An image gallery (10 in total) is the disc extra. Available in the shops in a month, or order now from www.classicrockdirect.com. Review by Phil Singleton (November '05) Sex Pistols - The Long Lost Videos DVD (Dave Goodman Productions) "For the first time ever fourteen Sex Pistols obscure studio recordings lovingly synched to rare live and studio footage". So reads the sleeve. Dave Goodman's last bootleg hurrah. It seems inevitable, that having plundered his own Pistols catalogue in everyway imaginable over the years, he would turn to videos as another way to rehash the same material. It's surprising he didn't think of it sooner. The title is misleading for starters; the videos are not lost, because they never existed in the first place. Don't expect unseen material either. To compile this collection, Dave has used a variety of visual sources to obtain film of the band in action from 76 - 78, both legal and pirate, all of which is in circulation. The quality of the footage varies widely, from superb to awful (clips from Winterland are shockingly bad). Also, he has clearly made the decision to mess around with some of the film, and in some cases, downgrade it deliberately. If this is designed to give it an edgy feel, if does not work. It's irritating. The use of clips from the official promo videos also seems pointless. Other gripes. Each track comes with an annoying Demo Not For Sale slapped on screen for a few seconds with accompanying bleep. Oh, and Dave has dubbed crowd noises on the start and end of tracks. The lack of Glen footage, means that Sid inevitably gets to star in his absence. Never has Sid's bass playing sounded so good! Glen does appear in the two versions of Anarchy (as does Sid), and Dave has pointed out in the credits who actually did play bass. Fun can be had with Satellite and Submission. Dave found the cupboard bare for these two and other tactics had to be deployed. Video trickery, and more 'treatment' of footage makes for a reasonable job on Satellite, but inspiration was all but spent by Submission, which is merely a collection of repeating 'photos. However, it allows Dave to insert some pics of himself. Fair enough I suppose. So, is it all so much garbage? Bizarrely, it is well worth a look. Partly out of curiosity, and partly because the clips of the band are expertly synced to the tracks, and therefore some of the videos are actually quite good! Viewing them all together is a little hard going on the eyes, but in small doses, they are far more palatable. Perhaps just as bizarrely, with his track record of suspect Pistols releases, the DVD seems to bring the Goodman saga to an almost logical conclusion, and acts as a strangely fitting epitaph. Review by Phil Singleton (August '05) The Sex Pistols - Music Box Biographical Collection (PHV017DVD) "This DVD is unofficial, and contains no original music by the artist" states the box, so you know at best it's going to be average, but more likely it's going to suck big time. "Music Box" surpasses itself, by sucking beyond imagination. Four 'talking heads' spout forth about the band. At least I think it was four; my brain struggled to process what I was viewing after a while. I won't name them, it would be too cruel. I'll give them the benefit of the doubt and assume they did not realise how bad the end product would be. But, that's it: four people talking about the band; four people who were not insiders! Just to give you an example; one out-of-focus head said the first Sex Pistols single he bought was Something Else - so that really makes him an authority, doesn't it?! Their monologues drone on, backed by the most bland, monotonous elevator music you have ever heard. In fact, if it was playing in an elevator I was in, I'd be out at the next floor. It's so un-"Pistols"....hell, it's un-"anything!". In the background run clips from The Filth And The Fury and Swindle, minus the original soundtrack, but overlaid by the mindless music. Never has footage of a band seemed so out of place. It's a long 40 minutes, believe me. I can't work out what market it's aimed at. Old fans will learn nothing, and new fans can buy The Filth And The Fury and Classic Albums DVDs. However, if you do like this kind of thing, then you're in luck: Music Box have a full range of artists covered, including Guns & Roses. Not heard of them, are they any good?! I'm tempted to return my copy of 'The Sex Pistols - Music Box...', but that would mean having to own up to buying it in the first place. I don't think I can put myself through the shame! Review by Phil Singleton (July '05) Pistol Whipped (Go Home Productions / Half Inch Recordings HI001) 12" limited edition. "It deserves exposure and a release. It's unlikely to get one of course, due to clearance problems etc., but who knows? I hope I'm proved wrong." Phil - March '03. I have been proved wrong! This release is so good, it's the most exciting Pistols release in years. Why? It's derivative, exciting, fresh, brilliantly clever, and undeniably Sex Pistols. Ray Of Gob (Radio Edit 2004) begins with the announcement "Ahoy Scurvies. Listen to this then!" care of Steve Jones/Friggin' In The Riggin'. Madonna & the Pistols wrestle for supremacy in the ultimate mash-up, with both emerging the victor. Pretty Vacant / GSTQ / Ray Of Light blend effortlessly in an exhilarating aural assault. No wonder Steve Jones has recently remarked that he'd love the Pistols to go on the road as a joint act with Madonna. It seems to make perfect sense. The 2004 edit includes dialogue from The Filth And The Fury movie in addition to Grundy swear words, with the strains of My Way reverberating at the conclusion. The original extended version is also included on the 12". Check my earlier review for my strength of feeling over this cut!! The success of Ray Of Gob has inevitably resulted in more Pistols mash-ups. Problems At The Gay Bar throws Electric Six in the pot with Problems. Unlike Ray Of Gob, which combined the music of the lead tracks, musically it's a full on Pistols assault, with only a brief mid-track respite. Electric Six provide the lead vocals, although the chorus features a clever combination of vocal tracks, 'Problem…at the Gay Bar!' The origin of No Feelings 4 Cher apparently lies in a request from Steve and Cher. Utilising the Mike Thorne produced backing track for No Feelings, this feels more like a Cher track than a Pistols song, with the techno trickery of Believe sitting comfortably over the basic track. It makes a positive contrast to the preceding Gay Bar. Submusic completes the picture, mixing Submission and Madonna's Music. Bizarrely, combining Madonna with a track from 27 years ago has made her sound more modern than ever before. Not to mention, cutting edge. This matches Ray Of Gob in terms of style, with Madonna once more in the guise of Pistols lead singer. This track has grown on me tremendously since I first heard it last year, and is probably my favourite Pistols mash-up. A cacophony of complementary sound building to a dynamic conclusion. I can't praise this release enough. It's brilliant. A very rare example of a record that leaves you not just totally satisfied, but with one question. How do they do that? Now then, an album please. In a final act of subversion, the label mischievously states 45rpm. It plays at 33rpm! Pistol Whipped can be ordered online at hmv.co.uk and is also available for sale in HMV and all good stores. It is also available to buy online at roughtrade.com, and halfinchrecordings.com. Review by Phil Singleton (March '04) Vicious: Too Fast To Live (EMI). Track listing: Something Else / C'mon Everybody / My Way (Tracks 1 - 3, UK singles) / Born To Lose / I Wanna Be Your Dog / Take A Chance On Me / Stepping Stone / My Way / Belsen / Something Else / Chatterbox / Search And Destroy / Chinese Rocks / I Killed The Cat (Tracks 4 - 14, from 'Sid Sings') / My Way (take 3) / From Beyond The Grave (from 'Some Product') / Something Else (1st Mix) Putting together a CD of Sid's greatest recorded moments was never going to be an easy task. This time, however, the indications were good, and pointed towards a unique tribute to mark 25 years since Sid's death. The September 7th 1978, Max's Kansas City, show featuring Mick Jones; Sid's last UK interview, conducted at Virgin offices April 1978; and the BBC World Service announcement of Sid's death. Unfortunately, due to clearance problems, none of these made the final CD. Instead, Vicious: Too Fast To Live, emerges as a hastily assembled compilation of official Virgin-released Sid product, plus two "alternative takes." The mastering is adequate, but the songs hardly roar out of the speakers. Sid Sings (which appears here in its entirety) always suffered from the quality of its source material, but compare this CD to the original 1979 vinyl pressing. The energy present in the vinyl is missing. The unreleased tracks are puzzling. My Way (take 3) is the same offering as on the Vive Le Rock CD. It is, to my ears at least, a poor quality cut of the Sid Sings version, minus the crowd noise at the start. What happened to the master of the full clean version, which must have existed when Sid Sings was compiled in 1979? I can only assume the cut on this CD is listed somewhere as 'take 3'. Something Else (1st Mix) is even more baffling. It's the same as the single only with a more 'bassy' sound. I can't see the point. The inclusion of From Beyond The Grave from the Some Product album is equally frustrating. What about original unedited interview material? On the plus side, it acts as a useful compilation for the new convert, or the Sid fan who wants all his 'Sid' in one handy package. And it's got a nicely designed sleeve. I doubt this is the CD the compilers originally intended. For me, it promised so much, but failed to deliver. Review by Phil Singleton (Jan '04) Sex: Too Fast To Live. Too Young To Die (OLLA 001) Track Listing: Psychotic Reaction - The Count Five / Through My Eyes - The Creation / Ain't Got No Home - Clarence 'Frogman' Henry / Shake Some Action - Flamin' Groovies / You're Gonna Miss Me - The Spades / Liar Liar - The Castaways / In The Nighttime - The Strangeloves / Brand New Cadillac - Vince Taylor / You Better Move on - Arthur Alexander / Eighteen - Alice Cooper / Night Of The Vampire - The Moontrekkers / Monster In Black Tights - Screaming Lord Sutch And The Savages / I Can't Control Myself - The Troggs / I Put A Spell On You - Screamin' Jay Hawkins / Have Love Will Travel - The Sonics / Joue Pas Le Rock'n'Roll Pour Moi - Johnny Halladay / The Pill - Loretta Lynn / We Sell Soul - The Spades / Valerie - Jackie And The Starlites / Roadrunner - The Modern Lovers Sex. 430 King's Road Chelsea. For the uninitiated, home to Malcolm McLaren and Vivienne Westwood's fashion revolution, and some would argue, spiritual birthplace of the Sex Pistols. Now this really is something original. After years of countless punk compilations, along comes a truly inspired collection. Compiled by Sex regular Marco Pirroni (also known of course for his stints in the Banshees and Adam and the Ants), we have 20 tracks whose only connection is that, as Marco states "were all on the jukebox at 430 King's Road, Chelsea. Apart from that, nothing." When you consider how crucial Sex was as a focal point in the evolution of punk rock in general and the Sex Pistols in particular, eavesdropping on the sounds of the shop is a fascinating journey, no need for indepth textbook studies here, the music tells the story. Dating from the pre-punk era, some of the tracks would aquire a place in Punk folklore, Through My Eyes, Eighteen, Road Runner (Sex Pistols), Brand New Cadillac (The Clash), I Can't Control Myself (Buzzcocks), but it's the other songs that prove the most interesting. Although they differ widely in terms of style, what they do all have in common is the ability to provide an alternative to the industry dominated pop and rock of the mid-Seventies. Raw, direct, and with one or two exceptions, energy fueled 2 - 3 minute gems. Devoid of prejudice and without anybody telling them what they ought to be listening to, it's no wonder that the early punk musicians had their own distinctive styles and beliefs in what this new musical revolution could offer. The punk-by-numbers blueprint would come later. That's what makes this such an enthralling and outstanding set of songs - from a time when the rules had yet to be written. I would single out The Castaways, Johnny Halladay, and the mould-breaking The Pill (Loretta Lynn) for particular praise. Complete with a full colour booklet featuring clothes available in the shop, the CD serves as more than merely a trip down memory lane, but allows you to taste the birth of a revolution. Without doubt, compilation of the year. Review by Phil Singleton (Sept '03) Sex
Pistols - The Heyday (The Boutique Label BOUCD 6603) Those of us with long memories will recall the original release on cassette way back in late 1980 (Factory FACT 30). It marked the first semi-official Pistols release to hit your local record store. With Virgin having released their Some Product 'interviews' album the previous year, I remember speculating what The Heyday would include. Once in the tape deck it didn't take many minutes to realise the tape contained interviews conducted by Judy Vermoral (August '77), for the biography, Sex Pistols (Star Books 1978). Twenty-three years later and here it is again, on CD with additional interviews conducted at the time with Glen Matlock, plus the notorious anti-Pistols campaigner Bernard Brook-Partridge. A novelty item featuring McLaren's grandmother is also included. The most striking interview is without doubt Sid Vicious. Sid is already absorbed by his own mythology, determined to live and die by the rock and roll agenda he has set himself (aided and abetted by Nancy who can be heard in the background). Far from sounding heroic, Sid merely comes across as sad, pointless, and strangely dated in attitude. In contrast to this, he displays moments of sharp insight such as his observation that grown-ups catch on to ideas once kids have discarded them. His abusive tirade against Hughie Green (host of seventies talent show Opportunity Knocks) is hilarious. It may have seemed a little over the top at the time, but history has proved Sid right, as I'm sure the late Paula Yates would have agreed. Sound bites from this interview also appeared on the Cash Pussies 99% Is Shit tribute single released the previous year. The Steve and Paul interviews are shorter and less compelling. Steve discusses his love of being in a band and can't perceive doing a normal job; his biggest problem being getting up in a morning. By the sound of him it would appear that he is still in bed and half asleep while being interviewed! Paul is asked to discuss the Bill Grundy interview and gives an accurate blow-by-blow account, culminating in the group's amazement at the ensuing media fuss. John discusses his views on education, "they don't like individuals...people who stick up for themselves." He makes some clever comments but stretches credibility at times with far-fetched claims including a story about stealing a school report. We hear about John's experience working on a building site, the banning of Anarchy In The UK, and God Save The Queen: "The record isn't about the Queen, it's about what you feel about the woman. She is probably like everybody else, but watching her on the TV she ain't no human being, she's like a piece of cardboard that they drag around on a trolley." The interview gives an insight into John circa '77, however, annoyingly, his mates are in evidence, interjecting with their own pearls of wisdom. Available for the first time is an interview recorded with Glen Matlock. Despite having left the band earlier in the year, Glen shows no bitterness. He talks openly about his reasons for being in a band and how it felt natural being in the Pistols. Malcolm is criticised for stealing other people's ideas and claiming them as his own, whereas "dopey" Vivienne Westwood was unable to understand jokes! By far the most interesting passage is when Glen is asked about his relationship with John. He still seems puzzled by John's behaviour towards him, and gives a couple of examples of how difficult he could be to work with, including an incident at the 100 Club where a pissed John asked Glen for a fight while being urged on by his mates. The second 'new' interview is with GLC Councillor, Bernard Brook-Partridge, who despite his strong hatred of the Sex Pistols was more than happy to be interviewed discussing them. Ironically in doing so, he became a part of the saga himself, as his appearances in both Swindle and DOA testifies. His usual rantings include "utter nausea" and the gem "I just do not believe that any allegedly cultural activity which strikes at the roots of culture is to be applauded." The original Factory Records cassette listed Malcolm McLaren's grandmother as an interviewee. All we got was a quick burst of laughter. Here we get the full deal. Taken from 1970, it's a recording of Malcolm's grandmother, Rose Corre, reciting from a script, The History Of Oxford Street, a McLaren project that never got made. McLaren can be heard constantly correcting her mispronunciation! Also worthy of mention are the sleeve notes, which provide background to the recordings themselves, going as far as to explain to the uninitiated who Hughie Green was. My feelings about this release remain the same as they did back in 1980. Although not as exciting as Some Product, it is still a fascinating and crucial document. Not only are the band members interviewed individually, they are aware that they are being interviewed for a band biography, and as a result respond with more considered replies than an average journalist would have elicited. There is no substitute for capturing the views of those in the eye of the storm, while the storm is still raging. This document should be in every Pistols fan's collection. Review by Phil Singleton (May '03) Sid Vicious - Vive Le Rock (Alchemy Entertainment PILOT152) Garbage. It's as simple as that. This 2CD collection promised much, a rounding up of Sid's live solo recordings, plus a rare 'unreleased studio version' of My Way. Disc One features the famous Vicious White Kids show from 15th August '78. The moment the disc starts you know you're in trouble. 'Mastered' (I use the term loosely) from a poor vinyl copy, it's got more snap, crackle, & pop, than a bowl of Rise Crispies. It gets worse, there's a 2-second 'blank' gap between each track! On a live CD! Unbelievable. I would call it amateurish, but that would insult the most amateur of home CDR enthusiasts. Then it gets worse still. The unreleased My Way is lifted straight from Sid Sings, with the crowd noise (originally added by Virgin), clumsily removed. The copy of Sid Sings used is a scratched vinyl copy, & sounds as though it was playing in the far corner of the room while being taped on an old mono recorder. The sound on the track fluctuates in an attempt to make the demo sound 'authentic'. You can, however, still hear the crackly run-out at the end of the vinyl album, & is that the needle lifting out of the groove I can hear? Who can tell? Pathetic. Disc Two claims to contain recordings from 7th & 8th September '78. Did Sid play a show on the 8th September? Not according to my information. Perhaps someone can confirm this? Whatever, it's more of the same shambles. It's also worth pointing out that the 2-second 'break' between tracks, doesn't always occur cleanly, & usually kicks in after the start of the following song! I know, I couldn't believe it either. I'm afraid by now, I'd given up, & had no intention of cross referencing the material with other releases, which I had originally planned in order to pin point the actual source of the recordings. What about the booklet & sleeve notes? Poor quality, fuzzy photos, many with 'special effects' added! Johnny Thunders/New York Dolls biographer Nina Antonia has written the sleeve notes. They are ok, but offer nothing new. The question is, what is she doing getting involved in such a release? I began by calling this release 'garbage'. Add 'insulting' & 'worthless'. I'm still being kind. Avoid. Review by Phil Singleton (March '03) Ray Of Gob - Mp3 / video (Go Home Productions / Red) Well, this was a surprise! Due to the wonders of the Internet & home studio technology, the influential mixing maestros Go Home Productions have unleashed possibly the most unlikely of music fusions, the Sex Pistols & Madonna. It's both inspired and brilliant. Starting with John admonishing the audience with 'Alright, just stop the fucking spitting. I don't like being spat at' (taken from Trondheim July '77), John then departs the mix. From now on Madonna is the Pistols' lead singer. The famous Pretty Vacant riff provides a distinctive initial backing track before God Save The Queen emerges in the mix. The interweaving of the two songs is masterful, and Madonna's Ray Of Light is expertly worked in on top. It is a high-energy track in its own right, which allows Madge's vocal to sit comfortably with the Pistols' music. Paul Cook's drumming acts as the backbone throughout; it's powerful stuff. There are some great moments tucked in the track, such as Steve's GSTQ solo kicking in, before Madonna's vocal returns seamlessly. Closing with Bill Grundy swear words, it's short, direct, and derivative, in fact very punk rock. It beats Neil Barnes' GSTQ remixes hands down. It's no wonder London's XFM radio has played the song a number of times. In an exciting development, video company, Red (whose work with Glen Matlock is showcased via the Video link on the God Save The Sex Pistols main menu), has put together a stunning video for the track. Superbly utilizing clips of the Pistols, along with Madonna's Ray Of Light video, it lifts the track to another level. The whole package is as good as anything you'll see on MTV. For me, it's already a highlight of the year. It deserves exposure and a release. It's unlikely to get one of course, due to clearance problems etc., but who knows? I hope I'm proved wrong. It the mean time, visit … and enjoy this mini masterpiece. Both the Mp3 and video can be downloaded from www.gohomeproductions.co.uk. The video can also be accessed directly via the Videos link on the main menu. Review by Phil Singleton (March '03) DOA (Japanese DVD) - King Records KIBF 146 The first I knew about this film was when the Film Book appeared in 1981, to coincide with the release of the movie. I was gob-smacked as I read the book, as it revealed the trials and tribulations behind the making of the movie, wondering if it could possibly deliver what it promised, and more importantly, how I could see it. After all, the Pistols' 78 US tour had gained almost mythical status, and apart from brief footage in 'Swindle' it remained so. A movie with the tour as its central core seemed like the stuff of fairytales. After a couple of promised UK video releases, which never materialised, it was a full decade later when it appeared on Channel 4. A long time to wait. The exact same feeling of wonder came flooding back as the movie unfolded. Anarchy In The UK live in Atlanta!! If the movie had ended there I would have loved it! The Pistols footage was stunning and unbelievably chaotic. Shot without the permission of Warner Brothers, who spent the tour trying to get the film crew thrown out of venues, this somehow seems to add to the excitement as smuggled cameras are filming from just about everywhere they could be concealed: in the audience, from the balcony, from the back, sides, you name it. Footage from all but one of the 8 shows on the tour is included, although Baton Rouge is only glimpsed briefly. Memphis is the absent show, (presumably they were unsuccessful at gaining entry!), nevertheless the crew did shoot outside the gig, where fans had rioted due to the overselling of tickets. This ability to turn adversity into an advantage was a major strength of film maker Lech Kowalski's crew, as they aimed to capture not only the shows themselves, but the chaos and craziness that plagued the tour. The protests, the fans (who were clearly expecting a freak show and dressed accordingly), the security, the Police, they're all here. They also manage to relay some of the danger of the Winterland show which is missing from the official video version; witness Sid falling over, a smoke bomb, and the stage littered with rubbish. The lyrics to Pistols' songs are onscreen, but this is an acquired taste. I understand the thinking behind the idea, putting across the message etc., but I find it intrusive, especially when it's incorrect. This is a small gripe however. The million dollar question remains, how much material was shot and is still unseen? Well, judging by the brilliant Bodies sequence, which lifts footage from all the shows filmed, I would guess additional film was shot that didn't make it to the movie. Whether it even still exists is another matter. It would have made a nice DVD bonus feature! Fingers crossed, it'll be one of those great finds of the future. The ultimate irony, of course, is that despite the crew being hounded every step of the way by the Pistols' entourage, the images captured are now considered classic rock footage, with many excerpts being used by Julien Temple in The Filth and The Fury. Without the dogged determination of Kowalski and his crew, the Pistols' legacy would be far poorer. Almost as stunning, for different reasons, is the Sid and Nancy interview, shot in the UK prior to their relocation to New York. Sid is barely functioning as a human being. Frightening. While in the UK in '78, Kowalski set about filming contempory punk bands, to give a wider feel of the punk scene and its social context. Hence, some exciting recordings of X Ray Spex, Sham 69, Generation X, and not forgetting The Rich Kids, performing a storming Pretty Vacant at the London College of Building And Printing, complete with Midge Ure trying a corny wink for the camera. Poser. The movie does come with a downside, Terry And The Idiots. Again, the idea is understandable, to follow a kid with 'no future', who tries to make something of himself by forming a punk band. But…Terry and his mates don't have an ounce of talent. Terry's insights on life are so dull, and his band so devoid of any redeeming features, that all their footage should have ended up on the cutting room floor. A total waste of film time which would have been better served by more live bonafide punk bands. It also puts paid to the myth that anyone can form a punk band. Well, maybe they can, but they shouldn't! So how does the DVD itself shape up? Disappointingly, it's in 4:3 ratio, not widescreen. On the plus side the picture is very sharp, and the sound excellent, a definite improvement on the UK TV transmitted version. Getting extras for such a release was never going to be easy, so credit must be given for unearthing a 1981 Johnny Thunders clip, in which he performs his tribute to Sid, Sad Vacation, sat in front of DOA film posters. He also talks about the band he almost formed with Sid. Don't expect too much info, as the band didn't get beyond an idea, and therefore Thunders has very little to say! Another warning, the majority of the 10 minute clip is spent either tuning up guitars, or failing to start the song!! Typical Thunders. As a Thunders fan, I still enjoyed it, although others may find it a touch boring after a couple of viewings. A gallery of film posters, flyers, and selected pages from the Film Book, is also a worthy addition.The theatrical trailer is unspectacular, but functional. So is it worth seeking out, or waiting for a UK/US release? Ask yourself, will there ever be a UK/US DVD? As it's never even appeared on VHS in the UK, you could be in for a long wait. Plus, and this was a major bonus for me, the second Terry appears, you simply flick past him and onto the decent parts of the movie. You need never see or hear him again. This alone makes it worthwhile. Review by Phil Singleton (March '03) Classic Albums - Never
Mind The Bollocks (Eagle Vision) Introduction
/ Pretty Vacant / Submission / Anarchy In The UK / EMI / Liar / Holidays In The
Sun / Bodies / God Save The Queen / Problems What a year it's been. The Pistols live, God Save the Queen, the box set, and to round it off, along comes Classic Albums - Never Mind The Bollocks. What makes Classic Albums unique, is that it arrived with the minimum of fuss. No hype, no fanfare, and therefore little expectation. Yet it delivers, and then some. Unlike the majority of other classic albums covered in the series, Never Mind The Bollocks differs in that the Pistols only released one proper album. It therefore reflects their entire career and consequently enables their story to be told yet again, but from an entirely different perspective. With a brief to focus primarily on the music, (with the chaos taking a back seat), Classic Albums doesn't have to try to be captivating in the same way that a movie demands. This allows for perhaps a more honest account compared to The Filth And The Fury! movie. Just compare John's view on Glen Matlock. Gone are the Rotten-esque put-downs, and in their place is a welcome mature respect. In fact Classic Albums will go a long way in proving to the Sid worshippers, painful as it may be, that Glen Matlock was a pivotal part of the group. Furthermore, this time there are no shadowy silhouettes, and we get to see the band in their middle-aged glory. The programme also benefits from the genuine enthusiasm all four Pistols have for the songs themselves. It proves one topic that they are all keen to discuss. What makes it fascinating is the way in which the songs are presented as a new way of telling the Pistols story. Filmed in the run-up to the Pistols At The Palace gig, we find the band in buoyant mood. Steve certainly seems to be enjoying himself, displaying that dry sense of humour ( I wonder how many viewers will now actually believe that Chris Spedding played at the early Pistols gigs!) Witnessing Glen reveal how he came up with riffs to Anarchy and Pretty Vacant and then playing them, followed by Steve illustrating his unique interpretation of Glen's tunes, gives a hitherto unseen insight into the dynamics of the band. John is as articulate and witty as ever, (having the death of a priest on your conscience can't have been easy!). For once Paul is given a fair share of air time, so we're able to hear his take on key moments such as the band's paranoia in the wake of God Save the Queen. Chris Thomas and Bill Price prove that there is far more to just plugging in and playing when producing an album. Being able to sample the different instruments at work within songs we know so well certainly sent a shiver down my spine. There was also some surprises tucked in there, such as Johnny's different vocal track for Holidays In The Sun. Terrific. Also worthy of note is the DVD-only extra More Studio Bollocks, in which Bill discusses how Paul's drum sound was achieved. Jamie Reid's contributions are as valid as they are crucial, as the visual realisation of the music created an impact all of its own. A certain Mr McLaren also offers his finely honed anecdotes, only this time with less of the bitterness he's displayed of late. The programme cleverly edits soundbites together to provide a coherent narrative. Thus we get a fresh take on Rotten Razored (DVD extra), care of John, Chris and Bill. Interwoven into the programme is some superb live footage, some of which (i.e. Maasbree, and Stockholm), is not commonly available with its live soundtrack. This brings us nicely onto the DVD extras, which ensures that the disc is essential, regardless of whether you've already taped the original 50 minute TV programme. Anarchy Bassics, in which Glen demonstrates his bass line and Bill Price plays back the original bass track from the song, is particularly noteworthy. Of the three complete songs included as extras, New York & Seventeen (Stockholm) boast stunning picture quality. (No coincidence that these 2 songs were selected because they are absent from the main programme, reflecting the care put into this package). EMI (from Maasbree - although not stated on the sleeve), has surfaced before on unofficial video releases, but it's great to see it included. A highlight for many will be Play In A Day The Steve Jones Way, in which Steve happily recreates many of his classic riffs, including New York, Seventeen & No Feelings (ensuring all of Bollocks is sampled). Suddenly the penny drops that he could be making money doing this: "I could be selling How to play Never Mind The Bollocks. I'm giving it away!" At which point he grins and turns his back to the camera, concealing his guitar! Classic Albums - Never Mind The Bollocks is a credit to the programme makers and the band. It gives us a respectful, honest appraisal, and serves as a fitting bookend to a terrific year for the Pistols. Review by Phil Singleton ©2000/2001/2002/2003/2004/2005 Phil Singleton / www.sex-pistols.net All rights reserved. Not to be reproduced without permission. |
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