RADIO, LIVE TRANSMISSION #06

“Who’d Have Thought” was arguably Hurrah!‘s last indie record before they got all sweetened up, ironed out and signed for Arista. They had other records associated with the Kitchenware label but by then I’d left them behind. So, this was the last Hurrah! single I ever bought, released October 1984.

Surging jangle pop and earnest vocals make this an enjoyable experience and warrants it’s ‘transmission’ status. There’s a low budget promo video on YouTube showing the boys roaring through a performance of this song. They’re filmed on top of the Gateshead multi-story car park made famous as a location in the film “Get Carter”.

The Bluebells are back again with one of their big hits, just failed to drift into the Top 10. I must be honest, I can’t remember “I’m Falling” from back in the day, released February 1984. They’re clearly going for the hits because this is a wimpy pop ballad, absolutely no edge and sounding like Aztec Camera. The drums have been enhanced in the studio making them way too loud in the mix, it’s almost impossible for me to listen to this more than a few times.

Basic post-punk numbers from The Fire Engines, both sides have a style of their own and must have sounded without comparison back in mid 1981 when the single came out to general indifference.

John Peel raved about the group so new admirers would have been quick to jump aboard the fire engine, teenage magazine ‘Smash Hits’ also gave this disc some column inches.

My pick for inclusion on my next Mixcloud transmission is the experimental flip “Meat Whiplash” (all Fire Engines song were experimental, you say)

Both sides of the Jesus and Mary Chain single are genius, it’s as simple as that! This is full on stereophonic noise and a beautiful sound it is. Everything so wrong about commercial eighties pop for the masses was so right with this record. One to play the squares at lunchtime when they’re nibbling on their cucumber sandwiches and talking about their latest selfie photo.

“Vegetable Man” is an inspired cover version assault of the intense Pink Floyd number, it was so deranged that EMI rejected it as a possible follow-up to “See Emily Play” (B-side status). The label executives probably came to the conclusion that writer Syd Barrett had been seriously damaged by acid.

The JAMC version has everything perfectly intact. Noise. Distortion. Fuzztone. Feedback. Darkness. Disturbed mind. Insane and certainly unhinged individual. This is Syd I’m talking about and Jesus and Mary Chain convey his song flawlessly. It loses nothing of the original. Released November 1984.

“In my paisley shirt, I look a jerk.”

“Sorry For Laughing” / “Revelation” was only released in Belgium, it was their first single for Les Disques Du Crépuscule and proved to be a moderate hit in the Indie chart. Quite an achievement for an import record at the time.

“Revelation” is probably my favourite Josef K number. It’s a frantic affair of spiky guitar and subtle feedback. This frenzy continues throughout the song, there is also elements of twang! Can that be possible? I love it, great record.

There is also a Postcard Records logo of the drumming cat on the label. Shame this wasn’t released on the latter. An early post punk record too, released February 1981.

Ah, Derek & Clive, this is hilarious. Just a couple of cunts (their words) with a joke punk song. Taking the piss out of The Sex Pistols and others, pronouncing of words, lyrics etc.
In Cockney it sounds like ‘cants’ 😆 just a couple of cants.

Published by Colin Mason

serious collector of 1960s vinyl records and archivist of vintage music magazines

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