Big Balls And The Great White Idiot (1977)

FrontCover1Big Balls and the Great White Idiot was one of the first, and one of the best known, early German punk rock bands. They were founded in Hamburg in 1975 by Peter Grund (drums, vocals, text), “Baron Adolf Kaiser” (vocals), Wolfgang Lorenz (guitar) and the Grund brothers: Alfred (bass, vocals) and Atli (guitar). The band was strongly influenced by the Sex Pistols.  Their lyrics were written in English.

Performances on stage were highly aggressive; the band was known to shout at the audience to go home. “Baron Adolf” provoked the audience by wearing a Nazi uniform and a black moustache as an expression of anarchy. Punk News magazine called their sound “mean and ugly.”

Big Balls & The Great White Idiot01

Their reasoning was “Wir hassen alle und wollen von allen gehasst werden. Die Leute sollen durch unsere Musik zum Durchbrechen und Aufmotzen gezwungen werden, damit sie ihre Frustration merken.“ (English translation: “We hated everyone and wanted to be hated by everyone. Through our music we wanted to force people to have a break-through and feel a call to action, so that they would notice their frustration.”)

Their first album was released in 1977 by Nova/Teldec, named Big Balls. Among the 17 songs were several covers: a version of the Sex Pistols’ “Anarchy in the U.K.”, in this case “Anarchy in Germany,” a cover of “White Light, White Heat“ by the Velvet Underground, and a cover of “Search And Destroy“ by The Stooges. In 1978 Big Balls released their second album Foolish Guys. Their next two albums, Artikel 1 and Creepy Shades, were released on their own label Balls Records, the latter bringing a change in sound away from punk.

Big Balls & The Great White Idiot02

The 1980s saw the “Balls” (with French guitarist Hervé Rozoum) more often in theaters contributing their music to various stageplays. In the 1990s, the Balls produced several albums with actor Jan Fedder as “Jan Fedder & Big Balls”. (wikipedia)

Big Balls & The Great White Idiot03

And here´s their first album:

A very good album by the great Big Balls & The Great White Idiot released on German’s Nova Records in 1977. A revved up and energized batch of punk tunes that are quite enjoyable and memorable. An amped up hybrid of punk, glam and Stooges style rock. They cover “Search And Destroy” from The Stooges and hold a definite Stooges influence throughout the LP. Repeated listenings will be desired if you can seek out and find this rare gem. A very underrated band. (Mark Yokel)

Big Balls & The Great White Idiot04

This is way better than the majority of punk LPs to come out of 77, highly under appreciated. (jimrandylahey)

But … this album is not my thing … My attitude to life then and now had nothing to do with punk !


Alfred Grund (bass, vocals)
Atli Grund (guitar)
Peter Grund (drums, vocals)
Wolfgang Lorenz (guitar),
“Baron Adolf Kaiser” (vocals)


01. I’m A Punk (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.33
02. TV-Song (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.38
03. Enemy Love (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.30
04. Schlitz-Blitz (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.37
05. No More Nightmares (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 2.47
06. Damned, Damned Life (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 2.10
07. Rock ’N’ Roll Madness (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.19
08. Search And Destroy (Pop/Williamson) 3.17
09. Intro (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.00
10. Raver Treatment 2.29
11. Anarchy In Germany (Matlocke/Cook/Richman) 3.18
12. Kick Her In The Dirt (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.17
13. No Chance (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 2.12
14. Hey. Dr. Frey (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.50
15. White Light, White Heat (Reed) 1.46
16. I’m Singing To You With My Finger In Your Ass (P.Grund/Alfred Grund/Atli Grund/ Lorenz/Kaiser) 3.27
17. Go To Hell (P.Grund/Alfred Grund/Atli Grund/Lorenz/Kaiser) 1.51



Concert Poster1

The now deleted official website:

Sex Pistols – Never Mind The Bollocks, Here’s The Sex Pistols (1977)

FrontCover1The Sex Pistols were an English punk rock band that formed in London in 1975. Although their initial career lasted just two and a half years, they are regarded as one of the most groundbreaking acts in the history of popular music. They were responsible for initiating the punk movement in the United Kingdom and inspiring many later punk and alternative rock musicians. Their fashion and hairstyles have been credited as a significant influence on punk image, and they are often associated with anarchism within music.

Sex Pistols01

The Sex Pistols originally comprised vocalist John Lydon (known at the time by his stage name “Johnny Rotten”), guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock. Matlock was replaced by Sid Vicious in early 1977. Under the management of Malcolm McLaren, the band attracted controversies that both captivated and appalled Britain. Through an obscenity-laced television interview in December 1976 and their May 1977 single “God Save the Queen”, the latter of which attacked Britons’ social conformity and deference to the Crown, they popularised punk rock in the UK. “God Save the Queen” was banned not only by the BBC but also by nearly every independent radio station, making it the “most heavily censored record in British history”.

Sex Pistols02

The band’s only album Never Mind the Bollocks, Here’s the Sex Pistols (1977)—a UK number one—is a staple record of punk rock. In January 1978, at the end of their over-hyped and turbulent tour of the US, Rotten announced the band’s break-up. Over the next few months, the three remaining band members recorded songs for McLaren’s film version of the Sex Pistols’ story, The Great Rock ‘n’ Roll Swindle. Vicious died of a heroin overdose in February 1979, following his arrest for the alleged murder of his girlfriend, Nancy Spungen. Rotten, Jones, Cook and Matlock reunited for a highly successful concert tour in 1996.[1] Further one-off performances and short tours followed over the next decade.

The Sex Pistols have been recognised as an influential band. In 2004, Rolling Stone placed them No. 58 on its list of the “100 Greatest Artists of All Time”. On 24 February 2006, the Sex Pistols—the four original members plus Vicious—were inducted into the Rock and Roll Hall of Fame, but they refused to attend the ceremony, calling the museum “a piss stain”

Sex Pistols03

Never Mind the Bollocks, Here’s the Sex Pistols is the only studio album by English punk rock band the Sex Pistols, released on 28 October 1977 by Virgin Records in the UK and on 11 November 1977 by Warner Bros. Records in the US. The album has influenced many bands and musicians, and the industry in general. In particular, the album’s raw energy, and Johnny Rotten’s sneering delivery and “half-singing,” are often considered game-changing. It is frequently listed as the most influential punk album, and one of the most important and best albums of all time.


The band’s internal relationships were always volatile, and the lineup saw changes during the recording of the album. Original bass guitarist Glen Matlock left the band early in the recording process, and while he is credited as a co-writer on all but two of the tracks, he only performed bass and backing vocals on one track, “Anarchy in the U.K.” Recording sessions continued with a new bass player, Sid Vicious, who is credited on two of the songs the band wrote after he joined. While Vicious’s bass playing appeared on two tracks, his lack of skill on the instrument meant that many of the tracks were recorded with guitarist Steve Jones playing bass instead. Drummer Paul Cook and singer Johnny Rotten appear on every track. The various recording sessions were led alternately by Chris Thomas or Bill Price, and sometimes both together, but as the songs on the final albums often combined mixes from different sessions, or were poorly documented who was present in the recording booth at the time, each song is jointly credited to both producers.


By the time of its release, the Sex Pistols were already controversial, having spoken profanity on live TV, been fired from two record labels, and been banned from playing live in some parts of Britain. The album title added to that controversy, with some people finding the word “bollocks” offensive. Many record stores refused to carry it and some record charts refused to list its title, showing just a blank space instead.


Due in part to its notoriety, and in spite of many sales bans at major retailers, the album debuted at number one on the UK Album Charts. It achieved advance orders of 125,000 copies after a week of its release and went gold only a few weeks later, on 17 November. It remained a best-seller for nearly a year, spending 48 weeks in the top 75.[1] The album has also been certified platinum by the RIAA. It has seen several reissues, the latest in 2017.

In 1987, Rolling Stone magazine named the album the second best of the previous 20 years, behind only the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. The same magazine ranked it number 80 on their list of 500 greatest albums of all time in 2020. In 2006, it was chosen by Time magazine as one of the 100 greatest albums ever. (wikipedia)

Acetate disc:
Acetate disc

While mostly accurate, dismissing Never Mind the Bollocks as merely a series of loud, ragged midtempo rockers with a harsh, grating vocalist and not much melody would be a terrible error. Already anthemic songs are rendered positively transcendent by Johnny Rotten’s rabid, foaming delivery. His bitterly sarcastic attacks on pretentious affectation and the very foundations of British society were all carried out in the most confrontational, impolite manner possible. Most imitators of the Pistols’ angry nihilism missed the point: underneath the shock tactics and theatrical negativity were social critiques carefully designed for maximum impact.

The Picture Disc edition:

Never Mind the Bollocks perfectly articulated the frustration, rage, and dissatisfaction of the British working class with the establishment, a spirit quick to translate itself to strictly rock & roll terms. The Pistols paved the way for countless other bands to make similarly rebellious statements, but arguably none were as daring or effective. It’s easy to see how the band’s roaring energy, overwhelmingly snotty attitude, and Rotten’s furious ranting sparked a musical revolution, and those qualities haven’t diminished one bit over time. Never Mind the Bollocks is simply one of the greatest, most inspiring rock records of all time. (by Steve Huey)

I remember well when the Sex Pistols made it big … I was quite outraged because they made my “old heroes” look so bad … smile.


Paul Cook (drums)
Steve Jones (guitar, bass, background vocals)
Glen Matlock (bass and background vocals on 07.)
Johnny Rotten (vocals)
Sid Vicious (bass on 04. + 08.)


01. Holidays In The Sun (Cook/Jones/Rotten/Vicious) 3.21
02. Body (Cook,/Jones/Matlock/Rotten) 3.02
03. No Feelings (Cook,/Jones/Matlock/Rotten) 2.49
04. Liar (Cook,/Jones/Matlock/Rotten) 2.41
05. God Save The Queen (Cook,/Jones/Matlock/Rotten) 3.19
06. Problems (Cook,/Jones/Matlock/Rotten) 4.11
07. Seventeen (Cook,/Jones/Matlock/Rotten) 2.01
07. Anarchy In The U.K. (Cook,/Jones/Matlock/Rotten) 3.32
08. Submission (Cook/Jones/Rotten/Vicious) 4.11
10. Pretty Vacant (Cook,/Jones/Matlock/Rotten) 3.16
11. New York (Cook,/Jones/Matlock/Rotten) 3.05
12. E.M.I. (Cook,/Jones/Matlock/Rotten) 3.11




The official website:

Ramones – Same (1976)

FrontCover1.jpgRamones is the debut studio album by American punk rock band Ramones, released on April 23, 1976 by Sire Records. After Hit Parader editor Lisa Robinson saw the band at a gig in New York City, she wrote about them in an article and contacted Danny Fields, insisting that he be their manager. Fields agreed and convinced Craig Leon to produce Ramones, and the band recorded a demo for prospective record labels. Leon persuaded Sire president Seymour Stein to listen to the band perform, and he later offered the band a recording contract. The Ramones began recording in January 1976, needing only seven days and $6,400 to record the album. They used similar sound-output techniques[clarification needed] to those of the Beatles and used advanced production methods by Leon.

The album cover, photographed by Punk magazine’s Roberta Bayley, features the four members leaning against a brick wall in New York City. The record company paid only $125 for the front photo, which has since become one of the most imitated album covers of all time. The back cover depicts an eagle belt buckle along with the album’s liner notes. After its release, Ramones was promoted with two singles, which failed to chart. The Ramones also began touring to help sell records; these tour dates were mostly based in the United States, though two were booked in Britain.


Violence, drug use, relationship issues, humor, and Nazism were prominent in the album’s lyrics. The album opens with “Blitzkrieg Bop”, which is among the band’s most recognized songs. Most of the album’s tracks are uptempo, with many songs measuring at well over 160 beats per minute. The songs are also rather short; at two-and-a-half minutes, “I Don’t Wanna Go Down to the Basement” is the album’s longest track. Ramones contains a cover of the Chris Montez song “Let’s Dance”.

Ramones peaked at number 111 on the US Billboard 200 and was unsuccessful commercially, though it received glowing reviews from critics. Many later deemed it a highly influential record, and it has since received many accolades, such as the top spot on Spin magazine’s list of the “50 Most Essential Punk Records”. Ramones is considered an influential punk album in the US and UK, and had a significant impact on other genres of rock music, such as grunge and heavy metal. The album was ranked at number 33 in Rolling Stone’s 2012 list of the “500 Greatest Albums of All Time” and was certified gold by the Recording Industry Association of America in 2014. (by wikipedia)


With the three-chord assault of “Blitzkrieg Bop,” The Ramones begins at a blinding speed and never once over the course of its 14 songs does it let up. The Ramones is all about speed, hooks, stupidity, and simplicity. The songs are imaginative reductions of early rock & roll, girl group pop, and surf rock. Not only is the music boiled down to its essentials, but the Ramones offer a twisted, comical take on pop culture with their lyrics, whether it’s the horror schlock of “I Don’t Wanna Go Down to the Basement,” the gleeful violence of “Beat on the Brat,” or the maniacal stupidity of “Now I Wanna Sniff Some Glue.” And the cover of Chris Montez’s “Let’s Dance” isn’t a throwaway — with its single-minded beat and lyrics, it encapsulates everything the group loves about pre-Beatles rock & roll.


They don’t alter the structure, or the intent, of the song, they simply make it louder and faster. And that’s the key to all of the Ramones’ music — it’s simple rock & roll, played simply, loud, and very, very fast. None of the songs clock in at any longer than two and half minutes, and most are considerably shorter. In comparison to some of the music the album inspired, The Ramones sounds a little tame — it’s a little too clean, and compared to their insanely fast live albums, it even sounds a little slow — but there’s no denying that it still sounds brilliantly fresh and intoxicatingly fun. (by Stephen Thomas Erlewine)


Dee Dee Ramone (bass guitar, background vocals, vocals on 11.)
Joey Ramone (vocals)
Johnny Ramone (guitar)
Tommy Ramone (drums, background vocals)
Leigh (background vocals on 01., 03. + 04.)


01. Blitzkrieg Bop (T.Ramone/D.Ramone Leigh 2.14
02. Beat On The Brat (Joey Ramone) 2.33
03. Judy Is A Punk (Joey Ramone) 1.33
04. I Wanna Be Your Boyfriend (T.Ramone) 2.25
05. Chain Saw (Joey Ramone) 1.57
06. Now I Wanna Sniff Some Glue (D.Ramone) 1.36
07. I Don’t Wanna Go Down To The Basement (D.Ramone/Johnny Ramone) 2.40
08. Loudmouth (D.Ramone/Johnny Ramone) 2.15
09. Havana Affair (D.Ramone/Johnny Ramone) 1.57
10. Listen To My Heart (D.Ramone) 1.59
11. 53rd & 3rd (D.Ramone) 2.22
12. Let’s Dance (Lee) 1.52
13. I Don’t Wanna Walk Around With You (D.Ramone) 1.43
14. Today Your Love, Tomorrow The World (D.Ramone) 2.17



The Saints – This Perfect Day (EP) (1977)

FrontCover1.jpgThe Saints are an Australian rock band originating in Brisbane in 1973. The band was founded by Chris Bailey (singer-songwriter, later guitarist), Ivor Hay (drummer), and Ed Kuepper (guitarist-songwriter). Contemporaneously with American punk rock band the Ramones, the Saints were employing the fast tempos, raucous vocals and “buzz saw” guitar that characterised early punk rock. With their debut single, “(I’m) Stranded”, in September 1976, they became the first “punk” band outside the US to release a record, ahead of better-known acts including the Sex Pistols and the Clash. They are one of the first and most influential groups of the genre. Alongside mainstay Bailey, the group has also had numerous line-ups – in early 1979, Ivor Hay and Ed Kuepper left, while Bailey continued the band, with a changing line-up. All Fools Day peaked in the Top 30 on the Australian Kent Music Report Albums Chart in April 1986. Bailey also has a solo career and had relocated to Sweden by 1994. The band was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame in 2001. The Saints continue to record and perform. In 2014 Bruce Springsteen covered their song “Just Like Fire Would” on his High Hopes album. (by wikipedia)


And here´s a very rare EP from The Saints including their single hit ”

“This Perfect Day” is a single by punk band The Saints . It was produced by Chris Bailey and Ed Kuepper and recorded and mixed at Roundhouse and Wessex Studios, London, in late 1977.

The single made #34 in the UK charts, the band’s only British Top 40 entry. The band appeared on Top of the Pops to promote the song.

Kuepper later mentioned, “I wrote it on my father’s classical guitar, on Christmas Day (1976) at my parent’s place when everybody had gone to church.”

A re-recorded version of the song later appeared on The Saints’ 1977 album Eternally Yours.

The Fall covered the song for their 1999 LP The Marshall Suite. Baby Woodrose covered the song on their 2004 album Dropout!.


Critic Jon Savage said that the song, “speeded up the Rolling Stones “Paint It Black” riff into pure extinction. “This Perfect Day” is almost too fast: The group nearly come off the rails before singer Chris Bailey brings everything to a grinding halt in an extraordinary cluster of negatives.”He later said the song was, “the most ferocious single to ever grace the UK Top 40.”

Steve Taylor said “This Perfect Day” was, “the band’s masterpiece. A short statement of resistance – delivered over a chugging beat and inventively deployed guitar. The Guardian considered the song “quite the most startling, wound-up noise recorded under the punk banner to that point. Bailey spat out the opening lines, atop the band’s adrenalised clatter.” Mojo called it, “an ultimate expression of teenage nihilism.” (by wikipedia)

As I wrote, this EPis very rare …:

“Important Notice – Due to an administrative error, this limited 12” pressing of The Saint’s “This Perfect Day” c/w “L-I-E-S” single contains a third, additional title not available on the normal 7″ pressing. The additional title, “Do The Robot”, has consequently been withdrawn from future releases consideration and will now be available only on this 12″ pressing”.  (taken from the liner notes)


Chris Bailey (vocals)
Kym Bradshaw (bass)
Ivor Hay (drums)
Ed Kuepper (guitar)


01. This Perfect Day (Bailey/Kuepper) 2.10
02. L-i-e-s (Bailey/Kuepper) 1.57
03. Do The Robot (Kuepper) 2.41




Don’t talk to me about what you done
Ain’t nothing has changed it all goes on
And they’ll keep laughing till the end
I’ve seen them drive around in cars
All look the same get drunk in bars
And don’t talk back we got no social rights

Oh perfect day
What more to say?
Don’t need no one to tell me what I don’t already know

We got no high times always flat
If you go out you don’t come back
It’s all so funny I can’t laugh
Oh perfect day
What more to say?
Don’t need no one to tell me what I don’t already know

Don’t talk to me about what’s you done
Ain’t nothing has changed it all goes on
And they’ll keep laughing till the end
Oh perfect day
What more to say?
I don’t need no one to tell me what I don’t already know

Don’t need nothin’
Don’t need no one
I don’t need nothin’, nothin’ at all


The Only Ones – Live At The Electric Ballroom (1980)

OLYMPUS DIGITAL CAMERAIn 1980, the Only Ones were maybe the most stoned junkie bunch of musicians in activity but on stage they were no less than magical. I can’t imagine a more intemporal music than this one. Listen to this version of “The Beast” before deciding what is genius. Catch this incredible document here. PS to iceman. The Paradiso concert was re-up recently (here) and is totally available on M.

Here we find the band 6 months after the Paradiso concert (here) but it’s a rather different band. Tensions are strong between members (some of them want to “place” their songs and begin to be unease with the position of sole composer of Peter Perrett… they were wrong actually, it was a good thing) and desillusion begins to grow (Baby’s Got A Gun album was badly produced by a producer mandatory sent by the label, it sells rather poorly, Ajouter une imageno single succeeded in the charts and drugs were beginning to eat every bit of motivation). The concert is very different from the one played at the Paradiso. Faster (they sometimes seem to call for a quick end), tighter (Peter Perrett plays much better and the band seems to behave as a whole and unique entity), it’s a dynamic set with some ups (the songs from Baby’s Got A Gun, here in their truly Only Ones versions) and some downs (some older songs, sometimes botched or with bad options, for example what the fuck is this half-reggae version of “Miles From Nowhere”?).


This concert was captured on 2 nights at the Electric Ballroom of Camden and released in 1989 on Mau Mau label under the name of Live (I did another cover sleeve cos’ I thought the official album one, a close shot ot Peter Perrett’s face, was rather unappropriate). Note that it was wrongly suggested on the back cover sleeve to be captured at the Speakeasy in 1977. Among my interrogations, is this strange (and scandalous) fade at the end of “Why Don’t You Kill Yourself”. If someone could tell me WTF. To conclude, I would say that this concert, in spite of all its low parts, is for me the symbol of what I would have dreamed to do on stage with a band. Yes, nothing can be more close to this dream than this concert. Therefore, you understand the fixation I do about this band. (by dkandroughmix-forgottensongs.blogspot)

Ineresting to hear Mike Kellie (ex-Spooky Tooth) in this famous punk/new wave band.


Mike Kellie (drums)
Alan Mair (bass)
Peter Perrett (vocals. guitar)
John Perry (guitar)

Only Ones Electric Ballroom Back.jpg

01. Trouble In The World (Perrett) 2.50
02. Programme (Perrett) 2.12
03. The Beast (Perrett) 5.46
04. The Happy Pilgrim (Perrett) 2.39
05. Lovers Of Today (Perrett) 2.56
06. Strange Mouth (Perrett) 2.18
07. Why Don’t You Kill Yourself (Perrett) 2.47
08. No Peace For The Wicked (Perrett) 2.06
09. As My Wife Says (Perrett) 3.10
10. Miles From Nowhere (Perrett) 3.41
11. The Big Sleep (Perrett) 4.36
12. Another Girl Another Planet (Perrett) 2.56
13. City Of Fun (Perrett) 3.08
14. Me And My Shadow (Perrett) 4.51




Mike Kellie passed away on 18th January 2017.

…from the iconic introduction of “Waiting For The Wind” by Spooky Tooth to the manic psychedelic rhythm pictures of “Another Girl, Another Planet” by The Only Ones, Mike Kellie’s career has spanned over 3 decades & his picturesque drumming accompanied some of contemporary music’s most successful artists…..

The Banshee – Your Nice Habits (2008)

FrontCover1.jpgThe Banshee fomed in Genova (Italy) in 2001, while the guys were still teenagers.
“Public Talks”, their first album, was released in Italy on Suiteside Oct. 2006, and then distributed in Nov. 2007 by Fading Ways Music in UK , Canada and Benelux.
The album got an enthusiast quote in the NME Breaking Bands column, airplay on Radio 1 and BBC6 by Steve Lamacq and Tom Robinson, two successful UK tours and Belgium gigs.
The Banshee appeal lies in their cool fucked-up attitude, in the apparently carelessness they jump in throwing the songs on stage. It’s the charm of not average indie pop-hooks people can relate easily to.
With lots of new ideas The Banshee entered Red House Studio in Senigallia (Ancona, Italy) to record their second album – titled “Your Nice Habits”, with the production of Luke Smith (ex-Clor, already producer for Shit Disco, To My Boy, Theoretical Girl, frYars). It was February 2008, then Luke Smith mixed the ten tracks in March in his London home studio.
Mastering has been done at Optimum Mastering Ltd in Bristol by Luke and Shawn Joseph.
“Your Nice Habits” shows the band at its best, with clean songwriting and memorable hooks matching groovy wave beats, electro burst and undeceived lyrics.
With an increasing amount of blogs and webzines around the world spreading the word about The Banshee, “Your Nice Habits” has been released in Italy in September ’08 and then in Europe (G/A/S – Benelux) on Fading Ways January 30, 2009 (distribution Sonic Rendez-Vous / Alive! PR gordon@tomlab), with a one month european tour following in February.
End of March ’09 the Oxford based label Shifty Disco (Young Knives, Elf Power, King of Spain..) released in the UK the “People Around DLEP”, taking The Banshee to new levels on Uk venues and on XFM, while BBC6’s Tom Robinson topped “Your Nice Habits” as “Best Album of the Year 2008”. (


Leave it to the Italians. 2008 will, nothing else go down as the year of 80s electro pop/punk/new wave revival. We’ve had the faux fourth world africanisms of Vampire Weekend, and the fizzy electronic Devo-lution of Hot Chip, but if you really want to recreate the heady rush of early Wire or XTC (when they still had Barry Andrews punching the organ) then look no further than Genova’s The Banshee. In the same way that our Mediterranean cousins keep the flame of prog burning brighter than it did in 1973, so they also manage to have produced new wave that’s more art school bonkers than it was in 1979.

You know what we mean: hi-hats rattle, jerky snares snap, synths bleep and guitars bark. The vaguely militaristic rhythms beat out a robotic two-step and it’s all you can do not to rush out and get yourself some skin tight jeans and an assymetrical barnet-job. The vaguely flanged, bleaty vocals can remind one of Gary Numan, but really, they have more to do with the (far cooler) Colin Newman (yes, there’s no trace of a Latin accent here). And there’s another reason why you should spend your hard earned paper round money on these boys – they were produced by Luke Smith of the much-missed Clor: another outfit who wouldn’t have looked out of place on the same bill as the Gang Of Four.


While Your Nice Habits never really lets up in terms of energy, spunk and verve, it can pall a little in its relentless angularity. For lovers of art rock this won’t really be a problem, but you can’t help thinking that this makes them a tad unsexy. Still, such enthusiasm can only be applauded. They should have called it Bandierina Rosa. (Chris Jones )


Fish (bass)
Jago (vocals, guitar, keyboards synthesizer)
Nico (guitar, vocals, samples)
Patrick (drums)


01. Cut Me Clear 3.15
02. Kicks Up 3.41
03. 3rd 3.30
04 Face 3.45
05. Russia 3.46
06. Electric 2.52
07. Believe The Master 3.43
08. Evening Dress 3.08
09. People Around 4.10
10. C.older 4.13

All songs written by Fish – Jago – Nico and Patrick



Green Day – Dookie (1994)

FrontCover1Green Day couldn’t have had a blockbuster without Nirvana, but Dookie wound up being nearly as revolutionary as Nevermind, sending a wave of imitators up the charts and setting the tone for the mainstream rock of the mid-’90s. Like Nevermind, this was accidental success, the sound of a promising underground group suddenly hitting its stride just as they got their first professional, big-budget, big-label production. Really, that’s where the similarities end, since if Nirvana were indebted to the weirdness of indie rock, Green Day were straight-ahead punk revivalists through and through. They were products of the underground pop scene kept alive by such protagonists as All, yet what they really loved was the original punk, particularly such British punkers as the Jam and Buzzcocks. On their first couple records, they showed promise, but with Dookie, they delivered a record that found Billie Joe Armstrong bursting into full flower as a songwriter, spitting out melodic ravers that could have comfortable sat alongside Singles Going Steady, but infused with an ironic self-loathing popularized by Nirvana, whose clean sound on Nevermind is also emulated here. Where Nirvana had weight, Green Day are deliberately adolescent here, treating nearly everything as joke and having as much fun as snotty punkers should. They demonstrate a bit of depth with “When I Come Around,” but that just varies the pace slightly, since the key to this is their flippant, infectious attitude — something they maintain throughout the record, making Dookie a stellar piece of modern punk that many tried to emulate but nobody bettered. (by Stephen Thomas Erlewine)

Billie Joe Armstrong (guitar, vocals)
Tré Cool (drums)
Mike Dirnt (bass)
01. Burnout 2.07
02. Having A Blast 2.44
03. Chump 2.54
04. Longview 3.59
05. Welcome To Paradise 3.44
06. Pulling Teeth 2.30
07. Basket Case 3.03
08. She 2.14
09. Sassafras Roots 2.37
10. When I Come Around 2.58
11. Coming Clean 1.34
12. Emenius Sleepus 1.43
13. In The End 1.46
14.1. F.O.D. 4.08
14.2. All By Myself 1.38
(Track 14.2 is a hidden track starting 4:08 into track 14. Durations taken from a media player as they don’t appear on the release)

Music: Billie Joe Armstrong – Tré Cool – Mike Dirnt
Lyrics: Billie Joe Armstrong + Mike Dirnt (on 12.)