Publication:
MaximumRockNRoll

Author:
Felix Von Havoc

MRR #190
For the last few months we have been discussing the great British Punk of the early 80's. In order to put this music into context it would help to look at the social and economic backdrop of England in 1981. Sociologists like Dick Hebdige (See Subculture and The Meaning of Style) attempted to classify punk along with Skinhead, Hippy, Rude Boy, Ted etc. as another typical working class subculture. Frequently alluded to were the lack of employment and educational opportunities for young people at time. The high unemployment rate of the period meant that most young people looked forward to dead end jobs or the "dole." In order to add some measure of depth and substance to their lives the rejects and outcasts from the dominant culture readily embraced the subculture groups. Another result of the prevailing socio-economic conditions were the riots of the summer of '81. Beginning in Brixton in April and spreading across England's major cities in July the riots were the major breakdown of central civil control in the post war period. (See We Want to Riot Not To Work, By the Riot Not Work Collective, 1982 for an in depth anti-authoritarian analysis of the riots) Riots erupted again in 1985 but that is a different story, as by 1985 punk was in full decline. Riots were a challenge to the status quo from the streets and the lower classes. The riots captured the imagination of the young punks who reveled in the chaos and disorder. Hence, Riot City records and the origins of Chaos Punk. One could clearly argue that this was really superficial and lacked the depth of counter cultural anti-authoritarian critique of the anarcho punk bands. I point to the fact that EMI absorbed Riot City, thus commodifying the chaos.

You can't really discuss the summer of '81 without listening to the Violators. Their 7" Single Summer of '81/Live Fast-Die Young (No Future, Oi 19) would be a great soundtrack to any riot I'd like to be in. Really catchy punk rock, melodic without being wimpy, great male and female vocals and choruses. By our standards these guys played really slow and the female vocals carry a notable Siouxsie influence, still this is great punk rock. These guys also had the Clockwork look down perfect. "There's blood on the street and the smell is so sweet Cause another blue bastard has gone down See the boots swarming round his head They're gonna see him dead, We've got a riot You can't keep us Quiet, We've got a riot, We've got a riot, This is our answer to your law" (From Summer of '81) Its all about chaos in the streets and kicking cops to death, the smell is so sweet, cities burning in the summer heat. If there was ever a poetry of violence and chaos this was it. The Violators first 7" was Gangland/The Fugitive (No Future Oi 9) followed by Summer of 81 and then a curious 45 rpm 12" called Die With Dignity (No Future 12 OI 26) which includes the songs from the first 7" and the song Summer of '81 but not Live Fast Die Young and three more songs. Why No Future didn't just add that one song and make it complete is beyond me. My copy of Die with Dignity is on Green vinyl, but Pignose's copy is black. Don't ask me how many were on each color. I'm sure someone has done a re-issue CD by now. There was a final Violators 7" Life on a Red Line on that horrible "Future records." Needless to say, like Blitz, the Violators traded in the aggression and feeling for a commercial pop sound along the lines of Spandau Ballet and Big Country.

One of the first punk 7"s I bought as a teenager was Abrasive Wheels "Vicious Circle". I'd have to say that Abrasive Wheels were the all time masters of the grab you by the balls chorus. Almost every song has a great sing a long chorus that really touches you in the nads. I don't drink anymore but when I did Abrasive Wheels was my favorite beer drinking band (along with Judge). The amount of energy in these songs is infectious. They make you want to stand on the table with a mug in each hand and sing along. If you think I'm overstating it pick up a copy of the great lp When the Punks Go Marching In. Abrasive Wheels were from Leeds (I think) and put out their first 7" before being picked up by Riot City. The first few singles and the LP are absolutely outstanding high energy catchy sing along punk rock which still sounds great today, after more than 15 years. Abrasive Wheels had the music but they also had the look and the outlook. They embraced the classic UK Punk look with charged hair, studded leathers, boots, and ripped up bleached jeans. How come half the kids who dress like that nowadays wear stocking caps and listen to ska? Stocking caps belong at a rave or a ski slope not a punk show. Furthermore, Abrasive Wheels had a very right on analysis lyrically and did a great job of giving voice to the concerns of working class punk kids in simple catchy choruses. How can you argue with the lyrics of "Burn 'em Down" or "Voice of Youth." I'm sure some intellectual student of punk lyrics will counter that "Put Maggie Thatcher on the Dole, Strip Her Now of Her Role" are overly simplistic. I advance the position that, like Discharge's lyrics, it's the simplicity that makes them so great. I mean, when what you have to say is direct and to the point why make into an advanced treatise on political science when you can just whip the crowd with a good chorus. As soon as you finish reading this rush out and get Abrasive Wheels S/T ep (Abrasive Records), Vicious Circle ep (Riot City, Riot 4) Burn 'Em Down/ Urban Rebel (Riot City Riot 16) and When the Punks Go Marching In LP (Riot City, City 001). For you CD nuts I know this had been re-issued on that format. Note that all the songs on the Vicious Circle ep are on the LP. Abrasive Wheels having reached that pinnacle with When the Punks Go Marching In started to decline. There were two more good Punk eps Jailhouse Rock/Sonic Omen (Clay Records, Clay 24) and Banner of Hope/ Law of the Jungle (Clay Records, Clay 28). As with most of the great punk bands of the early 80's Abrasive Wheels then opted for a more commercial pop/ rock and roll sound. There was another LP Black Leather Girl and singles, but I would recommend them to no-one. How the mighty have fallen. No Rules is the First Rule!

After Blitz probably the first band that comes to mind in discussing the music of this period is Vice Squad. This band is pretty well known but to tell the truth I like the Partisans and Abrasive Wheels a lot more. Musically Vice Squad is very similar to the Violators or other bands of the period. Slow by today's standards with a great deal of melody and catchy choruses. Vice Squad's main asset was singer Beki Bondage whom they were not above marketing as a sex symbol. Later Beki left to pursue a laughable solo career in Ligotage, Beki, and the Bombshells. Lia took over on vocals but by this point Vice Squad had mellowed a bit. To me Vice Squad is a singles band. Their LPs just seem to drag along with one or two good tracks while the singles are all excellent. Vice Squads first appearance was a track on the Avon Calling compilation LP "Nothing" from 1979. The Last Rockers ep (Riot City, Riot 1) is a classic of UK punk and arguably Vice Squad's best. A string of great singles followed all very much in the same vein. Resurrection (Riot City, Riot 2) Out of Reach (EMI, Z26) Stand Strong Stand Proud (EMI Z30) State of the Nation (EMI Z34). After switching vocalists in 1983 Vice Squad moved from EMI to Anagram. By this the music seems much more rock than punk but it could be argued that influence was present from the early releases. Black Sheep/New Blood (Anagram, Ana 16) and Teenage Rampage (Anagram Ana 26) were the last two I picked up. There was also a Fan Club flexi with three songs from a BBC session. Early on there was a 12" ep with the songs from the first two singles (Riot City, Riot 12 1/2, 1981). The first LP No Cause For Concern (EMI, ZEM 103, 1981) is not too memorable as all the best songs are on the early singles. Likewise with the second LP Stand Strong Stand Proud (EMI ZEM 104, 1982) best songs are already to be had on the single. There was also a 12" single version of the Black Sheep/New Blood single with a remix and a bonus track. There may very well be more Vice Squad vinyl in the post Beki period. I for one just stopped following the band after a certain point. Also of note is one of those Link Records Live and Loud LPs from 1988 (Link LP 50).

I used to hate those Link re-issues. I remember them being pretty much a dime a dozen and now even they are collector records, how times change. I for one am waiting for Mystic super sevens to start selling in the crazy collector market. Perhaps what we need is series of comps "Killed by Mystic" to drive up demand. "Bloodstains Across Hollywood" anyone?

Two bands I hated in the 80's were the Exploited and GBH. At the time these bands represented to me the worst in cartoonish Mall Punk. Wearing an Exploited t-shirt to a show was on par with writing "clueless" or "poser" across your forehead. I remember when I heard GBH was going to open for Iron Maiden on their '84 tour. At the time Crossover was still a dirty word and we were all afraid that the stupid jocks and heshers would suddenly take over the punk scene after seeing GBH. I guess GBH never did play with Maiden, the jocks and heshers came, and are I fear here to stay, but punk endured. Later I learned to like the early GBH material despite the retarded lyrics. I still think the Exploited are a joke and only suitable listening for 13 year old mall shoppers who don't know any better. Remember the flap about Wattie's record contract stipulating that he had to have a red mohawk at all times despite his going bald. Stick on mohawks belong on the bottom shelf at Spencer's not in the punk scene.

I'm going to end this train of thought here. I know I haven't discussed One Way System, Anti Pasti, English Dogs, Chaos UK or Disorder much less Picture Frame Seduction or the Outcasts but I feel my column is in danger of getting stuck in an "all English punk all the time" rut. Besides I was supposed to be writing about the unknown and the obscure not the obvious. Still I feel that armed with the last three months columns anyone interested in Street Punk or Oi could quickly hunt down the most important vinyl releases of the genre and go from there. Let me note here that my band Code 13 will be touring Europe and Israel from March to May. Jens Walter of Thought Crime records is setting it up. Having never done a European tour I'm very excited. Hopefully Japan will follow. Keep your ear to the ground. Until next time Stand Strong Stand Proud!

Publication Date:
January 1, 1988

Previous | All articles in this category | Next