5 Great British and Irish Punk tracks from the Seventies

A tribute to Pete Shelley!!!

Opher's World

Punk was like a shot in the arm for Rock Music, a shake up, a wake up call. It was an indie revolution. Too bad the big companies jumped back in and created the lowest common denominator all over again.

  1. Stiff Little Fingers – Suspect Device https://www.youtube.com/watch?v=sKsN5cj9ehs
  2. Sex Pistols – Pretty Vacant https://www.youtube.com/watch?v=VcauCclfytI
  3. Buzzcocks – Orgasm Addict https://www.youtube.com/watch?v=p2Mi995ggFU
  4. Stranglers – Peaches https://www.youtube.com/watch?v=NuT5KUA7iaY
  5. Clash – Should I Stay or Should I go – https://www.youtube.com/watch?v=xMaE6toi4mk
  6. A bit of energy for Monday.
  7. Available on Amazon. In the UK:

    In the USA: https://www.amazon.com/Search-Captain-Beefheart-Opher-Goodwin-ebook/dp/B00O4CLKYU/ref=sr_1_1?s=books&ie=UTF8&qid=1497866057&sr=1-1&keywords=opher+goodwin+in+search+of

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2 thoughts on “5 Great British and Irish Punk tracks from the Seventies

  1. There’s a few inaccuracies with the basic content here.
    In reality the major labels were very much responsible for the success of the Punk movement and it would never have happened without them.

    Firstly, look at the record labels these records are made by.
    1. Stiff Little Fingers – Rigid Digits, a proper Indie label, and pressed again nine months later by Rough Trade, one of the largest Indie labels.
    2. Sex Pistols – Virgin, no longer an Indie label and now one of UK’s most successful.
    It should be noted that Sex Pistols had firstly been signed by EMI, easily the UK’s largest company.
    3. Buzzcocks – United Artists, one of the world’s largest record companies with global operations.
    4. The Stranglers – United Artists, ditto.
    5. The Clash – CBS, one of the largest top three US companies, which global distribution.
    One out of five on a bona fide indie label. Looks very much that the major labels were market leaders and in overall control.
    Maybe the writer is simply just a music downloader and doesn’t know anything about record labels and marketing etc, but it was a fairy badly informed statement to make at the introduction to this post.

    Who’s Irish? Last time I checked Belfast is in Britain, which is where the Stiff’s are from. They would object to being referred to as “Irish”.

    I can confirm The Clash song is definitely from 1982, by which time they themselves had become exactly like everybody else they had slagged off when they started. Most of those they had slagged off survived and went on to even greater success. The Clash didn’t and Strummer subsequently turned them into a mockery then quietly disappeared into obscurity resting on the laurels of Clash record sales royalties for the remainder of his life.

    I’ve no idea what you’re on about with big companies etc. creating any lowest common denominator. The indie scene after Punk throughout the 1980’s was mostly excellent.
    You should explain what you think this lowest common denominator was.

    Punk when it was happening actually made not a lot of difference to where it mattered – album sales. Very few sold any albums of any measure. Most sold just enough to cover their costs and were flash-in-the-pan in the charts and out again after a couple of weeks. It was all a load of hyperbole manufactured by the NME and a few Punk band managers. Anything of real substance has a tendency to last more than two short years, which is all Punk was around for.
    A lot of the formative Punk people came from the Pub-Rock scene which also contained people that had been in larger more successful bands but were looking to do something more low key without the pressure of the usual album-tour mill-stone. This idea that Punk was anti-anything that came before it was complete rubbish. Many Punks had started as roadies for big bands, and having witnessed the touring lifestyle and all the excesses it has to offer, they wanted a piece of that action for themselves.

    After that the trendy popsters were washing themselves again, and into clothes, hair and make-up. Woah, how alternative! Good old fashioned music hall theatre playing a mini moog. That’s when the indie scene really exploded where even the major record labels created sub-division labels. In truth, the major labels were very much a major part of its promotion and subsequent development. Many major labels were extremely helpful to the many fledgling indie labels with assistance with distribution.
    The 1980’s in retrospect was without doubt the most all-inclusive and vibrant period in British music history. Gone were the days where nearly everything recorded was London-centric, based around just a handful of labels.

    I still can’t fathom out what is meant by this creating the lowest common denominator all over again.

    As for Orgasm Addict, Buzzcocks singer Pete Shelley later said that the song “is embarrassing. It’s the only one I listen to and… shudder”.
    I never liked it either.

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