One of the most unlikely of combinations-Phil Spector, maestro of the 1960s production era and The Ramones, trailblazers of the 1970s New York Punk scene, joining forces to create an album.
But yes it happened, on the fourth-of February 1980 the joint venture 'End Of The Century' saw a release, closing a chapter in the studio exploits of Spector and as some say the most productive era of the Ramones.
The albums conception harked back to the band's third album the 1977 release 'Rocket To Russia', Spector after seeing the band perform offered to help produce the album and oversee the creative process they were using at the time, in the spirit of Punk he was turned down flat due to the Ramones allegiance to Tommy Ramone,who at the time was co-producing the album with Tony Bongiovi.
Come 1979 Tommy had left the fold completely, with bad sales for all previous four albums and a desire to break into that mainstream market, releasing albums that were and still are highly influential but did not translate to strong sales.
The Ramones now taking Spector up on his offer, an idea or collaboration nobody seen coming and so it is begins the stuff of legend.
To start with The Ramones self titled debut album cost a little over six thousand dollars to make, the second,'Leave Home' cost ten thousand dollars and now along comes Spector with a budget of two hundred thousand dollars.
The possibilities were limitless but were needed for a band consisting of a control freak guitarist, an OCD suffering singer, a drummer who liked the odd drink and a bass playing-songwriter who alone took enough heroin to keep Pablo Escobar in a job.
The Ramones were relocated to Spectors Gold Star Studio in Los Angeles, famed for the music produced by The Beach Boys more so than the thundering dynamo of Punk but nonetheless recording started,...well sort of.
After almost two weeks and playing for over twelve hours a day, nothing had being put to tape.
Spector’s perfectionism in overdrive was overwhelming to the Ramones- endless mike placing, listening to the same drum beat repeatedly and of course the endless playing of one chord,heard in the opening of 'Rock N Roll High School', began to slowly pull the band into the madness that was the world of Phil Spector.
At certain points it seemed Spectors approach was focused more on the singer Joey Ramone than the band as a whole. After all the top-ten UK single taken from the album-'Baby,I Love You' featured Joey,?an orchestra and no other member of the band.
Although a master stroke in a business sense by Spector as he was also a co-writer on the track originally recorded by his all female act-The Ronnettes.
The question of how much of the Ramones apart from Joey appears on 'End Of The Century' is also questionable. The session drummer and Travelling Wilbury Jim Keltner appears on the album. So to does the combination of brothers Dan and David Kessel-the guitarists Spector had worked with before on the Leonard Cohen venture 'Death Of A Ladies Man'.
The same can be said for organist Barry Goldberg, a longtime collaborator with Spector but with this information in mind you feel that a second band was formed to make the album sound professional and not rough around the edges, which was the charm of Punk, not perfect but then again a reflection of life.
The hit single in a way works and the production is flawless making the most of Joeys sarcastic snarling Punk vocal.
Further tracks on the album galvanise the masterpiece it is, make no mistake this is a brilliant record. With the track 'Chinese Rock' recorded back in 1976 by Johnny Thunders and the Heartbreakers although originally wrote by Dee Dee and Richard Hell, this was the perfect song to showcase the force of the Ramones.
The same can be said to Dee Dee’s nostalgic look back at life growing up in Germany and his only friend, the radio.
'Do You Remember Rock N Roll Radio?', the albums opener and a stomper with the distorted radio sound that heralds the track but it also name drops influences of the Ramones including T.Rex and Jerry Lee Lewis.
The follow up to the song- ‘Judy Is a Punk', ‘The Return of Jacky and Judy' continued to display their punk beginnings so not to sell out too much on this record, but this was the heart of the conflict between Spector and the band, who would have been happy with one or two hits on the album, Phil wanted to make every track a hit.
The album cover alone was a change in direction, gone were the Ramones standard issue uniform of ripped jeans and leather jackets, replaced with different coloured shirts.
This stripping of the bands natural order made for an uncomfortable looking cover, even the scowl of Johnny was more compounded than usual.
Here we come to the crux of the matter,yes the Ramones created hits from their work on 'End Of The Century', but they found it an uncomfortable experience, maybe the success of the Sex Pistols release made them ask "where is our success?",
after all they were the band that the Pistols and so many others emulated.
A band like The Ramones would never be a band who would create hits, they were the outsider musicians not built for chart acceptance or appeal, rejecting all in society and in turn being rejected by society.
Their influence outweighs, like so many others, record sales, they were important as any other band in creating a new wheel in music and turning it to an extremely loud affect.
Kevin Burke January ‘19
The Sex Pistols stand alone release-'Never Mind The Bollox..’ features very little of Sid Vicious if at all.
Sid was not the greatest of musician or using the word musician was a loose word to describe him. He was self taught, the story of how he did hinges on the debut record By The Ramones.
The Ramones self titled debut album, the ‘Sgt. Pepper’ of the Punk generation, this was the tool Sid used to learn the bass.
A marathon fourteen-hour session of purely listening and learning as you go taught Sid the bass or so legend goes at least, throw in the story of being on speed to stay awake and focused and now it becomes more real.
Anyone associated with Sid or the Pistols always maintain that Sid was a far better singer than bass player, the ‘Rock N Roll Swindle Soundtrack’ holds weight to that theory. With songs such as 'Something Else' and 'C'mon Everybody' and his apocalyptic version of 'My Way', are without doubt extremely good as rock songs go let alone punk songs and suited Sid perfectly. He had the snarl and can add that extra tone of aggression and malice in his vocal.
In the background of Jim Callaghan's Labour Led Britain, heading into a winter of discontent,what spit in the face hope the Sex Pistols ‘Never Mind The Bollox..’ must have given the young generation.
As the needle hit the marching intro of 'Holiday In The Sun', not an album of escapism but rather one of aggressive acceptance at the state of the country, like the Bob Dylan of the sixties, the young had a voice.
A monumental work is found in the Sex Pistols one and true release.
Sid plays two roles on that album, one the image of the album, a projection on what a band with that much aggression should act and look like, the other was the tune 'Bodies', the only song that Vicious is reported to have played bass on.
By all accounts he was hospitalised during the recording due to having contracted hepatitis or jaundice depending on who is telling the story. Steve Jones is the man covering the bass lines throughout the rest of the recording as legend goes.
Did he do it?
Nancy Laura Spungen was murdered on the 12th-of-October 1978 at the age of 20.
The girlfriend of Sid Vicious suffered a stab wound at the Chelsea Hotel in New York and bled to death. All very bleak and sad.
Viscous was arrested and charged with her murder and served time in Rikers Island penitentiary in New York.
Before Vicious stood trial and while out on bail, he died of an overdose,four months after Nancy on the second-of-February 1979. This was an apparent assisted suicide as he had proclaimed he wanted to be:
'Under the ground!'.
His previous suicide attempts pointed to this frame of mind, this led to the case was being closed by the NYPD.
The theory of what happened that night,
has been told many times, which leads to
two theories as to how Nancy or ‘Nauseating Nancy’, as the British tabloids named her, died that night and neither involve Vicious murdering her.
The first is Spungen made it clear she did not want to live past the age of 21 and a suicide pact, which went wrong, Sid being too stoned to kill himself and Spungen stabbing herself with the hunting knife Sid had obtained for some say that very reason.It would explain Sids testimony of;'She must have fell on the knife'
By that he means stabbing or pushing the knife into herself. In the days and weeks that followed Vicious had tried to commit suicide, one attempt jumping out a window screaming;
“I want to be with Nancy!”
Sids mother, Anne Beverly is thought to have assisted in the suicide and presented a letter after Sids passing that read;
'We had a death pact, and I have to keep my half of the bargain. Please bury me next to my baby. Bury me in my leather jacket, jeans and motorcycle boots. Goodbye.'
That is one theory, the second that may be very close to the truth is this, it was a botched robbery, botched in the sense that Vicious was out cold but Nancy disturbed whoever it was that had entered the room.
A fact not widely publicised is Sids royalty money was gone from the room safe.
There had been two people present earlier that night, an apparent drug dealer only named as 'Michael' and a comedian-dealer known as Rockets Redglare, who had been to the room to delivery a batch of drugs earlier that evening was due to return.
So when he or this supposed 'Michael' returned to rob the royalty payment, they would have found Sid passed out and maybe got disturbed by Spungen which led to her murder.
Apparently this Rocket Redglare did admit to the murder years after but to friends and not the NYPD, if there's truth in it it’s long buried.
The NYPD closed the case quickly, no investigation was ever done to find out what happened to Sids royalty money, nor were the fingerprints on the knife and in the apartment ever fully investigated. It was a dead Punk,a dead junky, but behind it all it was twenty-year old girl and a twenty-one year old guy.
Kevin Burke January ‘19
OFFICIAL E-TROPOLIS PRE-PARTY ON FRIDAY 15.03.2019 with DJs JOHAN VAN ROY (Suicide Commando), SVEN FRIEDRICH (Solar Fake), MSTH (ElectronicDanceArt)
OFFICIAL E-TROPOLIS PRE-PARTY ON FRIDAY 15.03.2019!
The official E-TROPOLIS PRE-PARTY goes into its third round and therewith contributes to a still young but very fine tradition.
On Friday, 15.03., you can party at Turbinenhalle 2. From 10:00 pm they will dive into the night, once again with three excellent DJs who have announced their participation, masters of their craft, to pick up the tone of the main event with a variety of dark electronic tunes:
JOHAN VAN ROY (Suicide Commando)
SVEN FRIEDRICH (Solar Fake)
For all festival visitors showing their E-tropolis Festival 2019 ticket at the entrance, admission to the pre-party is free. For others it is 8,00 € each.
IX. E-TROPOLIS FESTIVAL 2019
16 March 2019 D – Oberhausen | Turbinenhalle
SUICIDE COMMANDO + DIE KRUPPS + SOLAR FAKE + WELLE:ERDBALL
[:SITD:] + VELVET ACID CHRIST + [X]-RX + CENTHRON + PRIEST
FUTURE LIED TO US + SYNTHATTACK + ES23 + RROYCE
+ after-show party
+ merchant gallery + chill-out areas
+ official pre-party @ 15 March | Turbinenhalle 2 - DJs JOHAN VAN ROY / SVEN FRIEDRICH / MSTH
(admission included in festival ticket, stand alone tickets available at the door for 8,00 €)
On this day, exactly 35 years ago The Cure performed in the Alabama Halle, Munich, Germany!
On the 30th of January 1984 The Cure performed at the Munich Alabama Halle, Germany.
The show was captured and later broadcast by German TV on several occasions.
Munich Alabamahalle 30/01/84
M (not on either of both videos)
Shake Dog Shake
Piggy In The Middle
10:15 Saturday Night
Play For Today
The Top (2nd YouTube video only)
Pornography (2nd YouTube video only)
Forever (not on either of both videos)
Filth Pig is the sixth studio album by American Industrial-Metal band Ministry, released on 30th January 1996.
Rumours say the album title was derived from a statement made by Teddy Taylor in the British House Of Parliament who described Ministry’s singer Al Jourgensen as a filthy pig. Four tracks from the album would be later released as seperate singles; The Fall, Lady Lay Lay, Reload and Brik Windows.
The opposite of the previously released and successful album ΚΕΦΑΛΗΞΘ, also referred to as Psalm 69, it was a less electronically infused record which divided the fans totally.
The cover art shows a man holding the American Stars & Stripes flag, with blood dripping from a chunk of raw meat on his head. He wears a badge on his chest saying 'Don't blame me'.
The highest notation in the Billboard 200 was in February 1996 at 19th position. The album lasted 10 weeks in the charts.
Al Jourgensen stated later: "Everyone hated Filth Pig. They all wanted Psalm 70, and I gave them an electronic-free record full of gun-in-mouth dirges of nothing but pain. Aside from the cover art, the humour was gone. All that was left was misery. And I still had to tour the fucking thing - which went down in history as the interminable, intolerable, absolutely depraved Sphinctour.”
Filth Pig Lyrics
I start out you're in a daze and people start younger
In a thousand days and it's getting overexposed
Then someone asks, "How do you sleep at night?"
With the borrowed dreams from a broken past
You keep runnin' away don't matter how fast
or long you always wind up there
Another thousand pileups in the ugly name of morality
Fucking ugly, some creepy guy keeps asking
"How the fuck do you sleep at night?"
With a frozen dream and a borrowed hope that died
Filth pig, filth pig
I sleep with both eyes open
Filth pig, filth pig
I keep chasing this tail but the tail gets bigger go figure
A thousand... keep the fires and flames alive
So how the fuck do I dream at night?
With the memories of a borrowed death, the guilty tide
Filth pig, filth pig
He sleeps with both eyes open
Filth pig, filth pig
He sleeps all right because he's a