[Pete] Wylie had joined a Dolls/Heartbreakers group called Crash
Course with a new scenehead called Andy Eastwood. While Mac [Ian
McCulloch] and I took turns to slag off the name of his group, Wylie
invited us to support them at Kirklands.
We agreed. Until the last moment, when Mac was close to shitting
out. First he was really late. Then he wouldn’t sing, he’d only play
melodica. Sod it, man, I’ll bloody sing.
We did ‘Jefferson Davis’, ‘Robert Mitchum’ and ‘Louie Louie’. Mac
had on a coat that Mark Smith [of The Fall] had given him. My hair was
all grown-out rootsy bleached and I had a shit anorak on. I thought I
looked way hip. “No way,” said Mac. “You look like Justin Hayward.” He
was right. Uncool.
The researchers studied trends in style, the diversity of the charts,
and the timing of musical revolutions. They find that, contrary to
popular belief, the so-called "British Invasion" of US pop music by
groups such as The Beatles and The Rolling Stones, did not start a rock
revolution, but only followed existing trends. The greatest musical
revolution in US pop history was also not 1964, but 1991when hip-hop arrived in the charts...
She came from Greece she had a thirst for knowledge
She studied sculpture at Saint Martin's College, that's where I caught her eye.
She told me that her Dad was loaded
I said in that case I'll have a rum and coke-cola.
She said fine and in thirty seconds time she said, I want to live like common people
I want to do whatever common people do, I want to sleep with common people
I want to sleep with common people like you.
Well what else could I do - I said I’ll see what I can do.
I took her to a supermarket
I don’t know why but I had to start it somewhere, so it started there.
I said pretend you’ve got no money, she just laughed and said oh you're so funny.
I said yeah? Well I can't see anyone else smiling in here.
Are you sure you want to live like common people
You want to see whatever common people see
You want to sleep with common people,
you want to sleep with common people like me.
But she didn't understand, she just smiled and held my hand.
Rent a flat above a shop, cut your hair and get a job.
Smoke some fags and play some pool, pretend you never went to school.
But still you'll never get it right
'cos when you're laid in bed at night watching roaches climb the wall
If you call your Dad he could stop it all.
You'll never live like common people
You'll never do what common people do
You'll never fail like common people
You'll never watch your life slide out of view, and dance and drink and screw
Because there's nothing else to do.
Sing along with the common people, sing along and it might just get you thru’
Laugh along with the common people
Laugh along even though they're laughing at you and the stupid things that you do.
Because you think that poor is cool.
I want to live with common people, I want to live with common people If you can't speak Greek use Google translate for this article
Rising singer-songwriter Lydia Loveless combines gritty yet literate lyrics, a timeless country singing style, and a rocking musical sensibility that melds punk energy with rootsy twang. Wrote Gorman Bechard in Guy with Typewriter, "Hers is a voice that can soar, that can break, that can swagger and scream, that can whisper and seduce, that can smirk and laugh out loud. She is the china cup from which Billie Holiday would want to drink." Via Info Night Out With Richard Hell: Jayson Musson
Tracklist:
Burning Spear – Door Peeper
Scientist – Dangerous Match 1
Tapper Zukie – Simpleton Badness
Ras Michael and the Sons of Negus – Long Time Ago
Noel Ellis – Reach My Destiny
Augustus Pablo – Pablo In Fine Style
King Burnett – Paul Bogle
Niney And Observer All Stars – Weeping Lotion
Collins Music Wheelers – Collins Sweat
Wackies Rhythm Force – Black Africa
Prince Far I – Plant Up
Tapper Zukie – Man Ah Warrior
Little Madness – Mother Country Version
The Gladiators – Bongo Red
Black Kush – Natural Rock
The Upsetters – Return Of The Super Ape Via
Published in 1975 and 1976 Edited by Nick Kimberley and Penny Reel with assistance from Chris Lane. I used to have these a l o n g time ago, the only two issues that were published, although Chris Lane says here:
We were going to do a third one because we all agreed at the time that 1972 had been such a classic year for reggae. We were going to do a 1972 edition of Pressure Drop and write it as though it was actually 1972: “Look at this great record from Glen Brown, Merry Up. It’s like nothing you’ve ever heard before”. Of course we never got round to it but Nick knew someone at Pluto Press and we actually signed a contract and got paid a very small advance to write this book about reggae. It was going to be the history of reggae and I remember at the time that I even did a thing about dub and how dubs are mixed, the track layouts, why the Studio One dubs on the albums sound the way they do because they come from 2-track tape, how the Tubby’s dubs sound the way they do because they’re using 4-track tape, and the Channel One’s…