Decade 77-87 - a grown up disco: new wave, punk, postpunk, goth & indie.
This week in 1975, GREG LAKE released the single I BELIEVE IN FATHER CHRISTMAS in the UK (Dec 1975).
Included amongst the perennially repackaged hits touted around during the festive season, the late Greg Lake's 'I Believe in Father Christmas' was a cynical stab at the commercialisation of Christmas and loss of childhood innocence, never intended to be the soundtrack to turkey, twinkling lights and baubles.
Released in 1975, the song reached number two on the UK Singles Chart. It was kept from number one by Queen's "Bohemian Rhapsody".
"I got beaten by one of the greatest records ever made," said Greg. "I would’ve been **** off if I’d been beaten by Cliff (Richard)."
The late Greg Lake’s "one and only hit solo single defied the jolly party vibe defined by 1973’s Slade shout-along Merry Christmas Everybody, while also bringing a subversive political dimension to the traditional “White Christmas”-style ballad," wrote Uncut magazine in 2014.
"Lyrics that spoke accusingly of an all-powerful “They” who had “sold us a dream of Christmas” and a “fairy story” about “the Israelite” informed you that you’d been brainwashed by commercialism and Christianity. This was before an ironic yet uplifting orchestral motif transported you to a magical Lapland where Santa was still driving a reindeer sleigh piled high with children’s gifts through twinkling snow. Was this record saying that Christmas was great after all? Or nothing more than a soulless sham? And then you saw the video…"
Bournemouth (England)-borne Greg Lake first rose to fame with a brief stint in King Crimson before achieving colossal success with Emerson, Lake & Palmer during the 1970s. Lake was one of the key figures in the creation of progressive rock, and had no time for critics who said that the music was ludicrously overblown.
The sensational progress of ELP slowed in the mid-70s, though Lake scored a solo hit in 1975 with I Believe in Father Christmas, reaching No 2 in the UK.
On this date in 1979, SKIDS released the single INTO THE VALLEY (Jan 10, 1979).
The rabble-rousing INTO THE VALLEY, full of drama and with a strong heroic edge, was pure anthem from start to finish - from the pulsating bass intro to Richard Jobson’s martialling over Stuart Adamson’s indomitable fuzz barrage.
What began as a poem written by Jobson in his youth, inspired by a line from "The Charge of the Light Brigade - "into the valley of death rode the six hundred," the song took on a more native note when it drew upon the plight of Scottish youths recruited into the British army and a personal one after a friend was killed on duty in Northern Ireland.
"Tennyson's poem had all the things you love as a young guy - heroism and tragedy and loss," Jobson recalled. "They were the very same qualities I tried to imbue in what was to become 'Into The Valley.'"
"A lot of the guys I knew who went to Northern Ireland had become prejudiced when they came back," Jobson continued. "They spoke about Catholics or Irish Nationalists in a very negative way, and always used that precursor, 'I know you're not like that, but...' It definitely had a curious effect on them as people, and psychologically scarred them. So that had a deep influence on the song."
“Into the valley Betrothed and divine Realisation's no virtue But who can define Why soldiers go marching"
On this date in 1980, THE LAMBRETTAS released the single POISON IVY, (January 28th 1980).
Hailing from Lewes and Brighton, THE LAMBRETTAS were one of the leading bands in the mod revival of the late 70s/early 80s, not to mention one of the most commercially successful.
Formed by singer and songwriter Jez Bird and guitarist Doug Sanders, the line-up was completed by bassist Mark Ellis (bass) and sticksman Paul Wincer.
Summer ’79 saw the band sign to Elton John's Rocket Record and a debut single ‘Go Steady’ was issued on the label in November that year. Although the song failed to chart it did pave the way for their big hit, a brass-laden cover of the old Coasters hit POISON IVY.
“...it was more reminiscent of the ska and two-tone boom than the mod one,” wrote music journalist Joe Nahmad.
“The confusion was heightened by the sleeve pastiche of the 2-Tone logo, replacing the usual rude-boy with a mod figure, and bearing the moniker '2-Stroke'. 2-Tone objected and the offending design was withdrawn, though not before The Lambrettas had benefited from the publicity.”
A third single ‘D-a-a-ance’ saw the band score another Top 20 hit, and debut LP ‘Beat Boys In The Jet Age’ peaked at #28 in the UK album chart; however, fourth single ‘Page Three’ issued in the summer of 1980, would end their run of success. The Sun claimed copyright on the use of ‘Page Three’ and forced a change of title, resulting in the destruction of all the manufactured sleeves and costing Rocket Records a four-figure sum.
The band called it a day in 1982 but Jez Bird reformed the band in the 1990s, touring and performing and recording several demos. Sadly, Jez died in 2008, at the age of 50. The band have continued playing over the years.
A song from my youth that always brings back memories.
The album version of the song contains the line "Whistling tunes we **** on the goons in the jungle," but for the single release, this was replaced with the more radio-friendly line "Whistling tunes we're kissing baboons in the jungle."
Decade 77-87 - a grown up disco: new wave, punk, postpunk, goth & indie.
40 years ago today, NEW ORDER released BLUE MONDAY - the best selling 12” single of all time.
"Blue Monday" is one of the most influential electronica songs of all time. The lyrics were written by Bernard Sumner, who admitted that the band was under the influence of LSD while making the song.
"I don't think there is a great deal to tell behind the lyrics if I am going to be brutally honest!" said Hooky. " It was just one of those things where Barney just went for it and the rest was history."
The title is not mentioned in the lyrics, which is true of many New Order songs. The band took the song's name from an illustration in the Kurt Vonnegut book Breakfast Of Champions, which Stephen Morris was reading. One of its illustrations read: "Goodbye Blue Monday," referring to the invention of the washing machine improving housewives' lives.
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Decade 77-87 - a grown up disco: new wave, punk, postpunk, goth & indie.
This week in 1975, GREG LAKE released the single I BELIEVE IN FATHER CHRISTMAS in the UK (Dec 1975).
Included amongst the perennially repackaged hits touted around during the festive season, the late Greg Lake's 'I Believe in Father Christmas' was a cynical stab at the commercialisation of Christmas and loss of childhood innocence, never intended to be the soundtrack to turkey, twinkling lights and baubles.
Released in 1975, the song reached number two on the UK Singles Chart. It was kept from number one by Queen's "Bohemian Rhapsody".
"I got beaten by one of the greatest records ever made," said Greg. "I would’ve been **** off if I’d been beaten by Cliff (Richard)."
The late Greg Lake’s "one and only hit solo single defied the jolly party vibe defined by 1973’s Slade shout-along Merry Christmas Everybody, while also bringing a subversive political dimension to the traditional “White Christmas”-style ballad," wrote Uncut magazine in 2014.
"Lyrics that spoke accusingly of an all-powerful “They” who had “sold us a dream of Christmas” and a “fairy story” about “the Israelite” informed you that you’d been brainwashed by commercialism and Christianity. This was before an ironic yet uplifting orchestral motif transported you to a magical Lapland where Santa was still driving a reindeer sleigh piled high with children’s gifts through twinkling snow. Was this record saying that Christmas was great after all? Or nothing more than a soulless sham? And then you saw the video…"
Bournemouth (England)-borne Greg Lake first rose to fame with a brief stint in King Crimson before achieving colossal success with Emerson, Lake & Palmer during the 1970s. Lake was one of the key figures in the creation of progressive rock, and had no time for critics who said that the music was ludicrously overblown.
The sensational progress of ELP slowed in the mid-70s, though Lake scored a solo hit in 1975 with I Believe in Father Christmas, reaching No 2 in the UK.
The rabble-rousing INTO THE VALLEY, full of drama and with a strong heroic edge, was pure anthem from start to finish - from the pulsating bass intro to Richard Jobson’s martialling over Stuart Adamson’s indomitable fuzz barrage.
What began as a poem written by Jobson in his youth, inspired by a line from "The Charge of the Light Brigade - "into the valley of death rode the six hundred," the song took on a more native note when it drew upon the plight of Scottish youths recruited into the British army and a personal one after a friend was killed on duty in Northern Ireland.
"Tennyson's poem had all the things you love as a young guy - heroism and tragedy and loss," Jobson recalled. "They were the very same qualities I tried to imbue in what was to become 'Into The Valley.'"
"A lot of the guys I knew who went to Northern Ireland had become prejudiced when they came back," Jobson continued. "They spoke about Catholics or Irish Nationalists in a very negative way, and always used that precursor, 'I know you're not like that, but...' It definitely had a curious effect on them as people, and psychologically scarred them. So that had a deep influence on the song."
“Into the valley
Betrothed and divine
Realisation's no virtue
But who can define
Why soldiers go marching"
'79 those were the days .....proper music eh ? @SidV79
Hailing from Lewes and Brighton, THE LAMBRETTAS were one of the leading bands in the mod revival of the late 70s/early 80s, not to mention one of the most commercially successful.
Formed by singer and songwriter Jez Bird and guitarist Doug Sanders, the line-up was completed by bassist Mark Ellis (bass) and sticksman Paul Wincer.
Summer ’79 saw the band sign to Elton John's Rocket Record and a debut single ‘Go Steady’ was issued on the label in November that year. Although the song failed to chart it did pave the way for their big hit, a brass-laden cover of the old Coasters hit POISON IVY.
“...it was more reminiscent of the ska and two-tone boom than the mod one,” wrote music journalist Joe Nahmad.
“The confusion was heightened by the sleeve pastiche of the 2-Tone logo, replacing the usual rude-boy with a mod figure, and bearing the moniker '2-Stroke'. 2-Tone objected and the offending design was withdrawn, though not before The Lambrettas had benefited from the publicity.”
A third single ‘D-a-a-ance’ saw the band score another Top 20 hit, and debut LP ‘Beat Boys In The Jet Age’ peaked at #28 in the UK album chart; however, fourth single ‘Page Three’ issued in the summer of 1980, would end their run of success. The Sun claimed copyright on the use of ‘Page Three’ and forced a change of title, resulting in the destruction of all the manufactured sleeves and costing Rocket Records a four-figure sum.
The band called it a day in 1982 but Jez Bird reformed the band in the 1990s, touring and performing and recording several demos. Sadly, Jez died in 2008, at the age of 50.
The band have continued playing over the years.
29.01.1982 TOWN CALLED MALICE
This was the first single released from The Gift, heading straight to number one where it stayed for three weeks! ✊
The album version of the song contains the line "Whistling tunes we **** on the goons in the jungle," but for the single release, this was replaced with the more radio-friendly line "Whistling tunes we're kissing baboons in the jungle."
40 years ago today, NEW ORDER released BLUE MONDAY - the best selling 12” single of all time.
"Blue Monday" is one of the most influential electronica songs of all time. The lyrics were written by Bernard Sumner, who admitted that the band was under the influence of LSD while making the song.
"I don't think there is a great deal to tell behind the lyrics if I am going to be brutally honest!" said Hooky. " It was just one of those things where Barney just went for it and the rest was history."
The title is not mentioned in the lyrics, which is true of many New Order songs. The band took the song's name from an illustration in the Kurt Vonnegut book Breakfast Of Champions, which Stephen Morris was reading. One of its illustrations read: "Goodbye Blue Monday," referring to the invention of the washing machine improving housewives' lives.
^^^^^ TUNE. Takes me back to my golden blonde streaked hair days (I know, I know)
Just played it full blast during the sync break.
On this date in 1985, TEARS FOR FEARS released the single EVERYBODY WANTS TO RULE THE WORLD
“As a single for 1985, the UK outfit couldn’t have written a track more apropos for the times,” wrote Michael Roffman for Consequence Of Sound.
“It’s a meditative commentary on an era that was so corrupt economically and spiritually.
“So glad we’ve almost made it/ So sad they had to fade it,” Smith wails in a tenor that’s equal parts nihilistic and tragic.
Who knew three decades later that those same words would speak even louder? But they do.
I know I repeat this every year but it's worth it as he's a great singer song writer.