Tag Archive: EMI


MORRISSEY : A MAN OUT OF TIME

It can’t be much fun being Morrissey these days. Not only does he have serious health problems (he’s just cancelled U.S. tour dates due to a bleeding ulcer) but now comes news that he has been snubbed by one of his former musical heroes.

A private 1982 photograph of him posing with David Bowie taken by Linder Sterling was to have adorned the reissue of the one of his weakest singles (The Last Of The Famous International Playboys) which precedes the forthcoming re-release of his worst solo album Kill Uncle.

Bowie had other ideas and has ordered EMI UK not to allow this artwork to go ahead. Mr. B is not one to go public with the reasons for such decisions so we can only speculate as to why he objected. Continue reading

Part of an irregular series of bite-sized posts about 7″ singles I own – shameless nostalgia from the days of vinyl. (Search ‘Backtracking’ to collect the set!)

THE SEX PISTOLS – Anarchy In The UK b/w I Wanna Be Me (EMI, 1976)

“It happens. you feel alien. You are other. Nothing in your culture, in your experience gets near what you feel. You want to be elsewhere. If you can’t be elsewhere, you want to see everything brought down. These thoughts explode in your head. You can’t sleep, you grind your teeth. You get migraines. You shake.
Then you walk into a room. You see or hear four people making a noise, playing the limits of electricity and the room’s ambient space: like a switch tripping, your life is changed forever. Out of nowhere, the terrain is cleared and the possibilities stretch before you.
This will happen only once, with that certainty”.

These lines are part of the sleeve notes by Jon Savage to Lipstick Traces, a compilation CD designed to be played alongside the book of the same name by Greil Marcus.

The four people in the room making the racket almost certain refers to The Sex Pistols. No other band, not even The Clash, had that effect

Without the single Anarchy In The UK, Marcus’ secret history of the 20th century would not have been written.

Without this record, and Johnny Rotten in particular, countless bands would have remained unformed and postwar popular culture might have continued on a downward spiral.

I might still be listening to albums like Tales From Topographic Oceans or Brain Salad Surgery.

It is hard to imagine, and as the years pass, it gets harder and harder to convince other people what an impact this record had.

Marcus notes Rotten’s demonic laugh and insolent way he not so much sang as hurled the lines into the world and writes of “a voice that denied all social facts, and in that denial affirmed that everything was possible”. Continue reading