Showing posts with label The Slits. Show all posts
Showing posts with label The Slits. Show all posts

Saturday, 8 May 2021

Zchivago's Disco Dystopia "Piss'n'Shit'n'Rock'n'Roll" 04/30/2021


As a break from more hippie folk,here's some 'orrible punk rock to remind you of reality in the Next Exiting (sic) Episode of Zchivago's Disco Dystopia ,sub-titled “PISS'n'SHIT'n'ROCK'n'ROLL” is now available...here's the playlist to put you off.....

DISCO DYSTOPIA PLAYLIST 30h APRIL 2021:

“PISS'n'SHIT'n'ROCK'n'ROLL”

1. P.M.S. - “Cocaine Cunt”
2. GIRLS IN SYNTHESIS - “Mound”
3. G.L.O.S.S - “Future Girls Living Outside Of Societies Shit”
4. SHIT ROCKETS - “Alpha Male”
5. SHITKICKERS - “NY Nice Guy”
6. SHITLICKERS - “Armed Revolution”
7. THE AUTHORITIES - “I Hate Cops”
8. MARY BELL - “I Hate You”
9. THE MUMMIES - “I'm Gonna Kill My Baby Tonite”
10. THE PRATS - “Nothing”
11. THE NOTHING - “Scream'n'Cry”
12. NO SECURITY - “I'm Nothing”
13. SHIZUKA - “The Ribbon Of A Child That Has Been Unwound”
14. THE RINGS - “Automobile”
15. PUSSY GALORE - “Spin Out”
16. THE CRAVATS - “ You're Driving Me”
17. THE SCREAMERS - “ 122 Hours of Fear/Government Love Affair”
18. NACHTHEXEN - “Panic”
19. PISSE - “Alt Sein”
20. CRIME - “Piss On Your Dog”
21. EARTH DIES SCREAMING - “Bored Teenager”
22. THE PRATS - “Bored”
23. THE SLITS - “A Boring Life”
24. DESTROY ALL MONSTERS - “Bored”



or


Friday, 11 September 2020

The 49 Americans ‎– "The Hit Album" (NB Records ‎– NB 4) 1980



Radio Free Europe may have asserted that 'All Americans Are The Same', but there were at least 49 of their compatriots who were certainly NOT the same......mainly because 48 of them were made of pasty faced English wimps,the types who'd get sand kicked in their collective faces by those real American boys who all look like Henry Rollins, while berating them as a bunch of Fags. Which of course, in England-land is a packet of Cigarettes,or ciggies. 'Fag' was also a Public School term,used by the sixth form,for their 1st year servant boy,who would invariably end up being abused violently and sexually by their adolescent masters. ...."Come here Blenkensopp,I'm going to give you a damn good bumming,you snivelling little Turd!"
This is what the British Empire was built on,alongside Tea, and a leaky raft of 'Good Intentions';and we all know the road to hell is paved with these good intentions"(C.S.Lewis)...don't we? 
A deadly accurate portrayal of British Public school life can be viewed here,Episode 1 of "Ripping Yarns"...."Tompkinson's School Days"
Using Rape as a weapon is the time honoured way of creating generation after generation of traumatized and suggestable future leaders.Most of the British Govenment have been through it....I mean just look at Boris Johnson!?......its a system that seems to work,keeping everything just fucked up enough to function, yet dangle a distant unattainable carrot of hope to aspire to,dangling on the far side of the pit of dispair. I'd love to know for whom Johnson fagged for at Eton,he does,after all come from 'New Money',so he probably got an extra special bumming in the 'Boot Room' at Eaton.
You Americans don't know how good you've got it....yep, it's that bad!
The 49 Americans were recruited from the J-Arthur ranks of the London Musicians Collective by the sole American in the group, ex-pat Andrew "Giblet" Brenner.This included such improv luminaries as David Toop, Steve Beresford, Max Eastley, Lol Coxhill and Peter Cusack, as well as Nag and Bendle of The Door And The Window ,Vivien Goldman and 'Slit' Viv Albertine (I somehow doubt that her time with 49 Americans will make it into the proposed cinema biopic of her life).
This amateurish, no-fi, non-pop...er...pop(?), is about as far as one can get from a standard rollicking,rocking,or Rawking, American Group as you can get.All that for 85 new-pence,with each mini-symphony lasting 58 seconds, which is a numerical palindrome of 85.Those krazzee kidz!

Tracklist:

U.S.A. Side:
A1 American Wonder Song 0:58
A2 Newton's Law's 0:58
A3 What We Want 0:58
A4 Gail Was A Victim 0:58
A5 Move Around All Day 0:58
A6 Is This Rock And Roll? 0:58
A7 Julie Andrews (A Tribute) 0:58
U.S.B Side:
B1 One Germ 0:58
B2 Intelectuals On Parade 0:58
B3 Pigs 0:58
B4 The Uncertainty Principle 0:58
B5 Architecture Stops 0:58
B6 Missionairies 0:58
B7 Stupid Boy 0:58


Thursday, 12 December 2013

The Slits - " Untitled Bootleg retrospective 1977-80 " (Y Records Y3LP) 1980


Like The Prats and Eater, The Slits had an underage member, one Ari Up, some posh German aristocrat who hung out at blues parties. They made a major label album, "Cut" for Island, with drafted in session men,and top reggae producers, which,although sounded good at the time, I now know to be a complete and utter 'SELL OUT'. That coupled with a German princess talking jamacian patois, and you have a truly sickening cocktail.
But, before selling out, they were a feral super nova of previously unseen proportions. Witnessing them live was like watching a pack of hyena's stripping bare a corpse; the corpse in this case being Rock'n'Roll, and there ain't nuffin' more Rock'n'Roll than that!
This was only captured on audio in their 1977 peel sessions,and this cassette recorded racket from squatland, London. (Is that anywhere near Squatney, where the young Spinal Tap came from? Ed.)
We have the non-selling out Pop Group to thank for this archive release, on their Y Records imprint; mirroring their own official bootleg release, "We Are Time", from the same year.
These primal paint-stripping rain dances are like having your brains scraped out with broken finger nail extensions, then shit on , grilled, and force fed back to you; and you WILL enjoy it.
I think the following quote from the uber-pretentious 'Lipstick Traces' by Greil Marcus, sums up the situation very nicely; couldn't have written better myself.........does that make me pretentious too?....Y' know I think it probably does!.....ok I admit it I am pretentious! Happy now?????

Cue Marcus:

"All the Slits really left behind is an object screaming with muteness: a nameless lp in a blank bootleg sleeve. I like to think the disc is called 'Once upon a time in a living room,' but there's no way to be sure; with phrases scrawled at random across the label in lieu of titles, you have to decide the names of the songs from the choices offered. 'A Boring Life,' then: once the music starts I've never tried to understand a word.

One Slit giggles; a second asks, 'You ready?,' another answers 'Ready?' as if she never could be, then the fourth returns the giggle like Alice diving down the rabbit hole: 'Ah, ah, OH NOOOOO -' It's the last sound you hear at the crest of a roller coaster, and in the dead pause that follows you have time to remember Elvis in Sam Phillip's Sun studios in 1955, setting up 'Milkcow Blue Boogie' with a little rehearsed dialogue ('Hold it, fellas! That don't move me! Let's get real, real gone for a change!'), except that the Slits' dialogue is too trivial to have been rehearsed, let alone lead anywhere, and then the silence is collapsed by an unyielding noise. This compressed drama - embarrassment to anticipation, hesitation to panic, silence to sound - is what punk was all about.

The Slits were Ari Up, lead singer; Palmolive, drums; Viv Albertine, guitar; Tessa, bass. The Rolling Stone Rock Almanac entry for 11 March 1977: 'The Slits make their stage debut, opening for the Clash at the Roxy in London... [They] will have to bear the double curse of their sex and their style, which takes the concept of enlightened amateurism to an extreme... The Slits will respond to charges of incompetence by inviting members of the audience on stage to play while the four women take to the floor to dance.' A line from an old Jamaican 45 comes to mind - from Prince Buster's 'Barrister Pardon,' the finale to his Judge Dread trilogy, the tale of an avenger come from Ethiopia to rid the Kingston slums of its rude-boy hooligans. Across three singles he sentences teenage murderers to hundreds of years in prison, jails their lawyers when they have the temerity to appeal, reduces everyone in the courtroom to tears, then sets everyone free and highsteps down from the bench to lead the crowd in a cakewalk: 'I am the judge, but I know how to dance.' With 'A Boring Life,' the Slits judged every other version of rock 'n' roll: 'Milkow Blues Boogie,' 'Barrister Pardon,' the crummy official records they themselves would make after their moment had passed.

Nothing could keep up with it. Shouting and shrieking, out of guitar flailings the group finds a beat, makes a rhythm, begins to shape it; the rhythm gets away and they chase it down, overtake it, and keep going. Squeaks, squeals, snarls, and whines - unmediated female noises never before heard as pop music - course through the air as the Slits march hand in hand through a storm they themselves have created. It's a performance of joy and revenge, an armed playground chant; every musical chance is taken, and for these women playing the simplest chord was taking a chance: their amateurism was not enlightened.

'No more rock 'n' roll for you / No more rock 'n' roll for me,' goes a drunken moan elsewhere on the record, echoing the Sex Pistols' chorus for no-future - some unidentified man was singing, maybe a guy running the tape recorder, but it was the Slits' affirmation that whatever they were doing, they wouldn't call it rock 'n' roll. This was music that refused its own name, which meant it also refused its history - from this moment, no one knew what rock 'n' roll was, and so almost anything became possible, or impossible, as rock 'n' roll: random noise was rock 'n' roll, and the Beatles were not. Save for the buried productions of a few cult prophets - such American avatars as Captain Beefheart, mid-1960s garage bands like Count Five or the Shadows of Knight, the Velvet Underground and the Stooges of the late 1960s, the New York Dolls and Jonathan Richman and the Modern Lovers of the early 1970s, and the reggae voice of gnostic exile - punk immediately discredited the music that preceded it; punk denied the legitimacy of anyone who'd ever had a hit, or played as if he knew how to play. Destroying one tradition, punk revealed a new one.

Looking back, it remains possible to take this version of the rock 'n' roll story for the truth, as the whole story - not because the music punk discredited was worthless, but because what little remains of the Slits' music allows you to imagine that the sound they made communicated more completely and more mysteriously than the most carefully crafted work of anyone who came before or after. 'A Boring Life,' heard as it was made in 1977 or heard a decade later, rewrites the history of rock 'n' roll."


(Greil Marcus - from his book "Lipstick Traces: a secret history of the twentieth century", publ. First Harvard University Press, 1990)

Track Listing:

Side A
- A Boring Life
- Slime
- Face Place
- No 1 Enemy
- Vaseline

Side B
- Or what is it?
- Bongos on the lawn
- Let's do the Split
- Mosquitoes
- No more Rock and Roll for you [Sister Ray] / Once upon a time in a living room

DOWNLOAD retrospectively HERE!