[Free music for punx] The free-rock British politician between hippie and punk era (1975-1982). Wow!
[PUJ] To the English punk was discussed ad nauseam: stacks of books, monographs, photographic exhibitions, para-sociological studies ... Enough! We stay in England, we are in the late '70s, but we are talking about a different music scene, always d 'inspiration anarcho-libertarian: the hippie free-rock! Sit, sordid can n x anointed with the jacket! Of this around music (and not only n) orbital between jazz and free-form experimentation, survived the season creative 60s, were also key figures in the English anarchist punk as Penny Rimbaud and Gee Vaucher of Crass. In the early '70s
Pen Rimbaud ina ny Ugur a collective musical / theater named Exit (the direction that was expected would take the public access to the gold concerts, as Penny says the same): "Exit The project had a very anti-music and inspired by what was happening in America the free-jazz and Europe with the avant-garde: it was "anti-form." Until then, you could say that the music had a certain form, as to the Cubism art had a certain kind of figurative form . The EXIT - says Penny - were un'operazio them guerrilla tactics. It usually present somewhere and we played without being invited. Of course we had no the ambition nor the desire to enter the commercial world of music ...". The Exit
you with the letting in a no man's land between the progressive-rock explosion of the early '70s the punk end of '70: a scenario that has seen waving are many other investigators (pre-punk or post-hippie) of the underground British radical characters and an arcoidi like Genesis P. Orridge and Cosey Fanny T ll future Throbbing Gristle, Fred Firth and Linds y Cooper of Henry Cow, saxophonist Lol Coxhill, bands like Art Bears, Cassibe r, Red Balun ... Auto r the anti-heroic and militant music .
We propose a review of some great records in this area g rigia dissident in the history of rock: music projects sf uggenti, orbiting jazz, progressive rock and post-punk, with some pointing anarcho - creative punk, just to prove that between jazz and experimental approach Crass at the end then there was this big difference. Anyway: the old-fashioned stuff up! [Photo: Henry Cow g them at lunch during a tour ]
[UK free-rock 1]
Lol Coxhill - Welfare State (Lp 1975)
[PUJ] The saxophonist Lol Coxhill, born in 1938, is one of the most interesting figures in the history of rock music . Bookbinder and amateur musician, has played in dozens of all kinds from jazz ensembles to punk bands (he played the sass ofono in "Music for Pleasure" and the Damned or went on tour with them in 1977 !), working with disparate personalities (from prog-rocker Kevin Ayers all'anarcopunk Penny Rimbaud), publishing the 70s to now a series of records unsettling and brilliant come “ Ear of the B eholder ” del 1971, un collage di musica improvvisata e situazionista registrato per strada, sotto i ponti, alle fermate della metropolit ana.
Nel 1973 Coxhill mette insieme una specie di comune artistica formata da freak, vagabondi e musicisti di strada, e incide l’albu m a nome Welfare State : un progetto nel quale jazz, jingle, canti da p ub e musica folkloristica c onvivono all’i nsegna della precarietà di mezzi e dell’improvvisazione. Ce ne parla l’autore nel back cover: "The welfare state (welfare state) is u n nomadic consortium of artists, musicians and performers. How magicians public us and engineers of the imagination invent ceremonies, rituals and officiate build images for particular times, places and seasons. Viaggian do through E urope as a village of trailers and mobile vans, the "welfare state" mass events organized and run outdoor sculptural elements, theater plays, ceremonies, dances, surreal fashion shows and other attractions. Consisting of sixteen adults and seven children the "welfare state" travels to small stages or for long distances, wherever possible or necessary to make concrete poetry. The music of the "welfare state" is functional. Each performance is composed for a particular action, image or atmosphere . " welfare state" is a disc lopsided at best, recorded outdoors and completely insane. It 'an anti-disco. Or rather, is an album of music as instrum ent of human sharing and existential interaction with joyful Pacing nte surrounding non certo come atto artistico... [nella foto: Lol Coxhill, dalle note del vinile di "Welfar State" ].
>>> Download LOL COXHILL - Welfare State (1975) in .mp3 (.rar - 47 mb.)
[U.K. free rock 2]
HENRY C OW - “Western culture” (Lp 1978)
[Puj] Gli Henry Cow furono tra le più importanti band dell’era pr ogressiva inglese. Fred Frith e Tim Hodgkinson, studenti dell’Università di Cambridge, formano gli “Henry la Mucca” nel 1968, declaring war on the market now and the official music sound stereotypical rock-band era. They define their gender dada-blues "or" Neo- Hiroshima "and u were consid national band" open. " The first five years of occasional concerts and spend between glittering lineup changes. In 1973, newly signed to Virgin Records (and become part of the reviled music market ...). In thickets MPO is blown their closeness to extreme left movements strategic: they come to pprezzati especially in countries where the political-union music is stronger, as in Italy, for example, play in Pordenone in 1975, during an evening organized by the democratic movement of soldiers and commissioned officers of the Italian Army (!) for the radical revision of the Rules of Discipline (Price: one thousand pounds. Free access to the military uito ... ha, ha, ha, ha !!!).
Until the mid 70's all f unction for the best, p or, with the advent of punk, the interest of public record for rock educated fool, to be null and void. Virgin downloads them, but they continue to play around, even with patched c ULO. At some point, the mood spreads within the group: some would recall a speech closer to song form, to communicate with more and more deaf to the music market trials hippie, others would rather I was , ep ver consistently make the middle finger and rely entirely on liberal form ra, as a political statement ica, in disagreement with the prevailing cultural trends.
the situation, comes up with a compromise: Fred Frith and Chris Cutler create a parallel group (the Art Bears) that is dedicated to an adventurous (how much, in fact, never comp elp) combination of song jazz and anarchic, and agree to register Henry Cow with a disc of jazz-rock instrumental and conceptual (but without making any contribution of composition). " Western Culture" is the result of that tormented creative season of the Henry Cow: a jazz record expressionist and anti-capitalist very disturbing. Will be the last album the band that will melt in there ap oco. The disc is divided into two parts: one composed entirely of Tim Hodgkinson entitled "History and Prospects" which opens with "The decay of cities," Industry "and closes with" On the raft. " The s ccording side titled "Day by day, "is the work of clarinetist Lindsay Cooper, culminating co n" Half of the Sky ", an ironic quotation of the famous maxim of Mao Tse-Tung:" Women are the other half of the sky " . The CD reissue of the album have been included some bonus tracks taken from recording sessions for the period, including a piece sung by the title "Viva Pa Ubu", immginaria soundtrack of the play "Ubu Roi" by Alfred Jarry (a must for theater, anarcho-dadista).
In March 1978, Henry Cow organize a big concert in London, which invites four-prog bands of the European area radical Storm y Six (Italy), Samlas Mammas Manna (Sweden) Univers Zero (Belgium) Etron Fou Leloublan (France); event dubbed "Rock in Opposition" is the birth of a movement political music ("RIO", in fact) that involves several European free-rock bands, who do not identify with either the iconoclasm of punk music (then reigning) nor with the rest of the recording industry official. The groups "RIO" fighting against the hegemony of American rock and reassuring simplicity of pop-music, in the name of protecting the territorial and cultural context of rock music and in favor of using the mother language groups (and not dell'ingl carried, as imposed by the imperialist Anglo-American music market!). In the manifesto of the movement Frith writes: "The record make their decisions based on profit and prestige. They have ears when it comes to extract money. And they have a heart that pumps the blood of those who kill . "It ends with a bombastic statement:" Independence is a good first step only if followed by a revolution . "The RIO was an early, ambitious effort to create a form of self and self-management of music on a large scale, politically conscious, with a program and organization well def init. Did not last long (the second official event was held in Rio in 1979 Milan at the Teatro Elf, followed by two smaller events in Sweden and Belgium, then nothing more), but even today there are many progressive rock bands who are interested in 'label "RIO" has become synonymous with independence from the cultural and material trends and laws prevailing market ...
>>> Download HENRY COW "Western culture". Mp3 + art full scan (. Rar - 120 mb)
[UK free rock 3]
RED BALUN - "Maximum Penalty" (ep 1979)
[PUJ] After sharing a few albums with Henry Cow, saxophonist Geoff Leigh shape the Bristol Red Balun, a simpatic or ensemble musical-theater homeless which is usually perform in political rallies and impromptu situations. The number of members of the band is variable: from two to thirty ! In a concert the other, Leigh and collaborate with other organizations that deal with people with disabilities or problems of social and play with addicts and former prisoners.
in 1977 (in training reduced to 4) the Red Balun leave for a t Our in Ola nda. Along the way, picked up a bit 'ge nt and the last date of the tour will gather on stage in 12. In O Ireland recorded their first 7 "" Spider in Love / capitalistic Kid "which is a (mediocre) jazz-punk pastiche put together as a joke (after all, the disc will have some success among lovers of new sounds ). Much more inter essante is the second " Maximum Penalty" (found below), recorded with the help of some Henry Cow: a real gem dark-jazz highly disturbing. At the end of 1978 he moved to Leigh Belgium to play with another group of ominous music, Univers Zero, and the design and R Balun is stored forever.
>>> Download RED BALUN "Maximum Penalty" (1979) in. Mp3 (. Rar - 24.7 mb.)
[UK free rock 4]
LINDSAY COOPER, MAGGIE Nicols & Joelle Leandre - "Live at the Bastille" (Lp 1982)
[PUJ] Lindsay Co oper, political activist and jazz musician, has up Onate with many bands of free- British rock including Henry Cow. At the end of the 70s are diagnosed with multiple sclerosis will perform up to the '90s with several projects, until the disease does not prevent him.
E 'was co-founder, along with singer Maggie Nicols, the Feminist Improvising Group (pictured), a jazz-band music improvvistata composed exclusively of women, born in 1977 in reaction to the dominance exercised by the musicians in males' ambient avant-garde music.
ensemble The debut took place in London, the festival called "Music for Socialism " . On this occasion, the group esibsce \u200b\u200bin a theatrical show half musical half, centered on the experiences of women and their daily activities. The Nicols recalls the evening calling it 'a bit anarchic, " I remember we had a lot of props, there tiravamo onions and I wandered to the public spraying perfume." The group toured a bit 'all over Europe, staged a bitter-sweet parody of women in society, using, in addition to the canons of musical instruments, even household items like vacuum cleaners, brooms, shovels, pots, pans ... Often opened the shows with the band in an apron intent on sweeping the stage and continued with the exploration of potential "music" of the tools used. The band also tried to break with the traditional separation between public and musician, involving the audience in musical performances and promoting the principle (which can not be more punk) of the "anyone can do it," against the demands of virtuosity and care for jazz musicians escluvità officers.
The Feminist Improvising Group lasted until 1982. Given that the group did not produce any record, except for a live box, of course, impossible to find today, I propose here an album recorded live in Paris in 1983 by a trio formed by the two founders of the feminist group improvisation, and Lindsay Cooper Maggie Nicols, and bassist Joelle Leandre, another jazz musician, political leanings, which in 1983 will enter the 'European Women Improvising Group (International developments Feminist Improvising Group ). The musical proposal of "Live at the Bastille" (recorded just within the walls of the fortress of the Bastille in Paris) is not unlike that of group improvisation feminist and lies in the balance between music and ambient noise. ..
>>> Download Lindsay Cooper, Maggie Nicols & Joelle Leandre "Live at the Bastille" (1982) in. Mp3 (. Rar - 71 mb. )
[UK free-rock (bonus track)]
Crass - "Nagasaki Nightmare" (7 "- 1980) + POISON GIRLS -" All Systems Go "(7" - 1980) + Crass / Poison Girls Split (7 "- 1980)
[PUJ] Today, there are many possibilities that a forty year old housewife with two teenage children to get up one morning, put one foot in the anarchist punk band and began touring the country playing? Few would say, but few were also in the England of q 1976 hen you subversive, quarantunenne, founded the Poison Girls, perhaps one of the largest and most underrated punk bands of all time. Along with Crass, Poison Girls rep to exempt the trait d'union between the artsy hippie culture of the '70s and punk. In terms of both musical and political, punk was actually a retreat from the trials of free-rockers militants who were trying to go beyond the music as entertainment, as well as the single product designed to fit the music market and tried to break the traditional dividing line between band and audience (and ultimately, between art and life!), especially as the punk songs were stylistically related to reassuring pop song form, as well as performances by the punk bands, beyond the aesthetic provocation, took place on stages traditional manner tipiche di un qualsiasi concerto rock del passato. Nello scenario punk ci furono però delle importanti eccezioni che declinarono le medesime istanze politico-sociali ed artistiche del free-rock entro una prospettiva più cupa e paranoica . Le più clamorose tra queste furono i Crass e le Poison Girls.
Ho scelto quindi di inserire in questa rassegna di musica hippie underground inglese degli anni ’70 anche tre dischetti delle due succitate bands, usciti nel 1980 su Crass Records: roba molto più vicina agli Art bears e agli Henry Cow che ai Sex Pistols e ai Clash! Per ragioni anagrafiche Penny Rimbaud e Vi Subversa (che nel 1977 avevano rispettivamente 34 e 42 anni) indeed seem strange figures half punk and half hippie. The three magnificent individuals found below contain everything except punk traditionally understood. Let's start with "All Systems Go " of the Poison Girls, " Promenade Immortelle " is a twilight ballad while " Dirty Work" is noise rock that stands on an obsessively repeated riffs. " Nagasaki Nigthmare " Crass is no exception: the A side is a nightmarish freak-out noise, while " Big A, Little A " has all the appearance of an original rap. Regarding the split between the two bands: on the Crass' Bloody Revolutions " è un'epopea divisa in atti che alterna le solite marcette paranoiche a momenti teatrali (tra cui un intermezzo psichedelico cantato da Eve Libertine); sul lato opposto le Poison Girls si cimentano in " Persons unknown " che sembra più un pezzo dei primi Black Sabbath che una canzone punk-rock. In pratica: entrambe le band se ne sbattono della forma canzone (strofa/ritornello/strofa/ritornello etc..etc..) e degli stilemi compositivi/esecutivi del punk.
Curiosità: Vi Subversa é la mamma di Pete Fender e Gem Stone, componenti della band anarco-punk dei Rubella Ballet, che suonò spesso di supporto alle Poison Girls. [Nella foto: s oundcheck dei Crass, dietro ad un ampli compare Vi Subversa ]
>>> Download POISON GIRLS "All systems go" + CRASS "Nagasaki Nightmare" + POISON GIRLS/CRASS split 3 x 7" in .mp3 + complete art scan (.rar - 51,5 mb.)
Pen Rimbaud ina ny Ugur a collective musical / theater named Exit (the direction that was expected would take the public access to the gold concerts, as Penny says the same): "Exit The project had a very anti-music and inspired by what was happening in America the free-jazz and Europe with the avant-garde: it was "anti-form." Until then, you could say that the music had a certain form, as to the Cubism art had a certain kind of figurative form . The EXIT - says Penny - were un'operazio them guerrilla tactics. It usually present somewhere and we played without being invited. Of course we had no the ambition nor the desire to enter the commercial world of music ...". The Exit
you with the letting in a no man's land between the progressive-rock explosion of the early '70s the punk end of '70: a scenario that has seen waving are many other investigators (pre-punk or post-hippie) of the underground British radical characters and an arcoidi like Genesis P. Orridge and Cosey Fanny T ll future Throbbing Gristle, Fred Firth and Linds y Cooper of Henry Cow, saxophonist Lol Coxhill, bands like Art Bears, Cassibe r, Red Balun ... Auto r the anti-heroic and militant music .
We propose a review of some great records in this area g rigia dissident in the history of rock: music projects sf uggenti, orbiting jazz, progressive rock and post-punk, with some pointing anarcho - creative punk, just to prove that between jazz and experimental approach Crass at the end then there was this big difference. Anyway: the old-fashioned stuff up! [Photo: Henry Cow g them at lunch during a tour ]
[UK free-rock 1] Lol Coxhill - Welfare State (Lp 1975)
[PUJ] The saxophonist Lol Coxhill, born in 1938, is one of the most interesting figures in the history of rock music . Bookbinder and amateur musician, has played in dozens of all kinds from jazz ensembles to punk bands (he played the sass ofono in "Music for Pleasure" and the Damned or went on tour with them in 1977 !), working with disparate personalities (from prog-rocker Kevin Ayers all'anarcopunk Penny Rimbaud), publishing the 70s to now a series of records unsettling and brilliant come “ Ear of the B eholder ” del 1971, un collage di musica improvvisata e situazionista registrato per strada, sotto i ponti, alle fermate della metropolit ana.
Nel 1973 Coxhill mette insieme una specie di comune artistica formata da freak, vagabondi e musicisti di strada, e incide l’albu m a nome Welfare State : un progetto nel quale jazz, jingle, canti da p ub e musica folkloristica c onvivono all’i nsegna della precarietà di mezzi e dell’improvvisazione. Ce ne parla l’autore nel back cover: "The welfare state (welfare state) is u n nomadic consortium of artists, musicians and performers. How magicians public us and engineers of the imagination invent ceremonies, rituals and officiate build images for particular times, places and seasons. Viaggian do through E urope as a village of trailers and mobile vans, the "welfare state" mass events organized and run outdoor sculptural elements, theater plays, ceremonies, dances, surreal fashion shows and other attractions. Consisting of sixteen adults and seven children the "welfare state" travels to small stages or for long distances, wherever possible or necessary to make concrete poetry. The music of the "welfare state" is functional. Each performance is composed for a particular action, image or atmosphere . " welfare state" is a disc lopsided at best, recorded outdoors and completely insane. It 'an anti-disco. Or rather, is an album of music as instrum ent of human sharing and existential interaction with joyful Pacing nte surrounding non certo come atto artistico... [nella foto: Lol Coxhill, dalle note del vinile di "Welfar State" ].
>>> Download LOL COXHILL - Welfare State (1975) in .mp3 (.rar - 47 mb.)
[U.K. free rock 2] HENRY C OW - “Western culture” (Lp 1978)
[Puj] Gli Henry Cow furono tra le più importanti band dell’era pr ogressiva inglese. Fred Frith e Tim Hodgkinson, studenti dell’Università di Cambridge, formano gli “Henry la Mucca” nel 1968, declaring war on the market now and the official music sound stereotypical rock-band era. They define their gender dada-blues "or" Neo- Hiroshima "and u were consid national band" open. " The first five years of occasional concerts and spend between glittering lineup changes. In 1973, newly signed to Virgin Records (and become part of the reviled music market ...). In thickets MPO is blown their closeness to extreme left movements strategic: they come to pprezzati especially in countries where the political-union music is stronger, as in Italy, for example, play in Pordenone in 1975, during an evening organized by the democratic movement of soldiers and commissioned officers of the Italian Army (!) for the radical revision of the Rules of Discipline (Price: one thousand pounds. Free access to the military uito ... ha, ha, ha, ha !!!).
Until the mid 70's all f unction for the best, p or, with the advent of punk, the interest of public record for rock educated fool, to be null and void. Virgin downloads them, but they continue to play around, even with patched c ULO. At some point, the mood spreads within the group: some would recall a speech closer to song form, to communicate with more and more deaf to the music market trials hippie, others would rather I was , ep ver consistently make the middle finger and rely entirely on liberal form ra, as a political statement ica, in disagreement with the prevailing cultural trends.
the situation, comes up with a compromise: Fred Frith and Chris Cutler create a parallel group (the Art Bears) that is dedicated to an adventurous (how much, in fact, never comp elp) combination of song jazz and anarchic, and agree to register Henry Cow with a disc of jazz-rock instrumental and conceptual (but without making any contribution of composition). " Western Culture" is the result of that tormented creative season of the Henry Cow: a jazz record expressionist and anti-capitalist very disturbing. Will be the last album the band that will melt in there ap oco. The disc is divided into two parts: one composed entirely of Tim Hodgkinson entitled "History and Prospects" which opens with "The decay of cities," Industry "and closes with" On the raft. " The s ccording side titled "Day by day, "is the work of clarinetist Lindsay Cooper, culminating co n" Half of the Sky ", an ironic quotation of the famous maxim of Mao Tse-Tung:" Women are the other half of the sky " . The CD reissue of the album have been included some bonus tracks taken from recording sessions for the period, including a piece sung by the title "Viva Pa Ubu", immginaria soundtrack of the play "Ubu Roi" by Alfred Jarry (a must for theater, anarcho-dadista).
In March 1978, Henry Cow organize a big concert in London, which invites four-prog bands of the European area radical Storm y Six (Italy), Samlas Mammas Manna (Sweden) Univers Zero (Belgium) Etron Fou Leloublan (France); event dubbed "Rock in Opposition" is the birth of a movement political music ("RIO", in fact) that involves several European free-rock bands, who do not identify with either the iconoclasm of punk music (then reigning) nor with the rest of the recording industry official. The groups "RIO" fighting against the hegemony of American rock and reassuring simplicity of pop-music, in the name of protecting the territorial and cultural context of rock music and in favor of using the mother language groups (and not dell'ingl carried, as imposed by the imperialist Anglo-American music market!). In the manifesto of the movement Frith writes: "The record make their decisions based on profit and prestige. They have ears when it comes to extract money. And they have a heart that pumps the blood of those who kill . "It ends with a bombastic statement:" Independence is a good first step only if followed by a revolution . "The RIO was an early, ambitious effort to create a form of self and self-management of music on a large scale, politically conscious, with a program and organization well def init. Did not last long (the second official event was held in Rio in 1979 Milan at the Teatro Elf, followed by two smaller events in Sweden and Belgium, then nothing more), but even today there are many progressive rock bands who are interested in 'label "RIO" has become synonymous with independence from the cultural and material trends and laws prevailing market ... >>> Download HENRY COW "Western culture". Mp3 + art full scan (. Rar - 120 mb)
[UK free rock 3] RED BALUN - "Maximum Penalty" (ep 1979)
[PUJ] After sharing a few albums with Henry Cow, saxophonist Geoff Leigh shape the Bristol Red Balun, a simpatic or ensemble musical-theater homeless which is usually perform in political rallies and impromptu situations. The number of members of the band is variable: from two to thirty ! In a concert the other, Leigh and collaborate with other organizations that deal with people with disabilities or problems of social and play with addicts and former prisoners.
in 1977 (in training reduced to 4) the Red Balun leave for a t Our in Ola nda. Along the way, picked up a bit 'ge nt and the last date of the tour will gather on stage in 12. In O Ireland recorded their first 7 "" Spider in Love / capitalistic Kid "which is a (mediocre) jazz-punk pastiche put together as a joke (after all, the disc will have some success among lovers of new sounds ). Much more inter essante is the second " Maximum Penalty" (found below), recorded with the help of some Henry Cow: a real gem dark-jazz highly disturbing. At the end of 1978 he moved to Leigh Belgium to play with another group of ominous music, Univers Zero, and the design and R Balun is stored forever.
>>> Download RED BALUN "Maximum Penalty" (1979) in. Mp3 (. Rar - 24.7 mb.)
[UK free rock 4] LINDSAY COOPER, MAGGIE Nicols & Joelle Leandre - "Live at the Bastille" (Lp 1982)
[PUJ] Lindsay Co oper, political activist and jazz musician, has up Onate with many bands of free- British rock including Henry Cow. At the end of the 70s are diagnosed with multiple sclerosis will perform up to the '90s with several projects, until the disease does not prevent him.
E 'was co-founder, along with singer Maggie Nicols, the Feminist Improvising Group (pictured), a jazz-band music improvvistata composed exclusively of women, born in 1977 in reaction to the dominance exercised by the musicians in males' ambient avant-garde music.
ensemble The debut took place in London, the festival called "Music for Socialism " . On this occasion, the group esibsce \u200b\u200bin a theatrical show half musical half, centered on the experiences of women and their daily activities. The Nicols recalls the evening calling it 'a bit anarchic, " I remember we had a lot of props, there tiravamo onions and I wandered to the public spraying perfume." The group toured a bit 'all over Europe, staged a bitter-sweet parody of women in society, using, in addition to the canons of musical instruments, even household items like vacuum cleaners, brooms, shovels, pots, pans ... Often opened the shows with the band in an apron intent on sweeping the stage and continued with the exploration of potential "music" of the tools used. The band also tried to break with the traditional separation between public and musician, involving the audience in musical performances and promoting the principle (which can not be more punk) of the "anyone can do it," against the demands of virtuosity and care for jazz musicians escluvità officers.
The Feminist Improvising Group lasted until 1982. Given that the group did not produce any record, except for a live box, of course, impossible to find today, I propose here an album recorded live in Paris in 1983 by a trio formed by the two founders of the feminist group improvisation, and Lindsay Cooper Maggie Nicols, and bassist Joelle Leandre, another jazz musician, political leanings, which in 1983 will enter the 'European Women Improvising Group (International developments Feminist Improvising Group ). The musical proposal of "Live at the Bastille" (recorded just within the walls of the fortress of the Bastille in Paris) is not unlike that of group improvisation feminist and lies in the balance between music and ambient noise. ..
>>> Download Lindsay Cooper, Maggie Nicols & Joelle Leandre "Live at the Bastille" (1982) in. Mp3 (. Rar - 71 mb. )
[UK free-rock (bonus track)] Crass - "Nagasaki Nightmare" (7 "- 1980) + POISON GIRLS -" All Systems Go "(7" - 1980) + Crass / Poison Girls Split (7 "- 1980)
[PUJ] Today, there are many possibilities that a forty year old housewife with two teenage children to get up one morning, put one foot in the anarchist punk band and began touring the country playing? Few would say, but few were also in the England of q 1976 hen you subversive, quarantunenne, founded the Poison Girls, perhaps one of the largest and most underrated punk bands of all time. Along with Crass, Poison Girls rep to exempt the trait d'union between the artsy hippie culture of the '70s and punk. In terms of both musical and political, punk was actually a retreat from the trials of free-rockers militants who were trying to go beyond the music as entertainment, as well as the single product designed to fit the music market and tried to break the traditional dividing line between band and audience (and ultimately, between art and life!), especially as the punk songs were stylistically related to reassuring pop song form, as well as performances by the punk bands, beyond the aesthetic provocation, took place on stages traditional manner tipiche di un qualsiasi concerto rock del passato. Nello scenario punk ci furono però delle importanti eccezioni che declinarono le medesime istanze politico-sociali ed artistiche del free-rock entro una prospettiva più cupa e paranoica . Le più clamorose tra queste furono i Crass e le Poison Girls.
Ho scelto quindi di inserire in questa rassegna di musica hippie underground inglese degli anni ’70 anche tre dischetti delle due succitate bands, usciti nel 1980 su Crass Records: roba molto più vicina agli Art bears e agli Henry Cow che ai Sex Pistols e ai Clash! Per ragioni anagrafiche Penny Rimbaud e Vi Subversa (che nel 1977 avevano rispettivamente 34 e 42 anni) indeed seem strange figures half punk and half hippie. The three magnificent individuals found below contain everything except punk traditionally understood. Let's start with "All Systems Go " of the Poison Girls, " Promenade Immortelle " is a twilight ballad while " Dirty Work" is noise rock that stands on an obsessively repeated riffs. " Nagasaki Nigthmare " Crass is no exception: the A side is a nightmarish freak-out noise, while " Big A, Little A " has all the appearance of an original rap. Regarding the split between the two bands: on the Crass' Bloody Revolutions " è un'epopea divisa in atti che alterna le solite marcette paranoiche a momenti teatrali (tra cui un intermezzo psichedelico cantato da Eve Libertine); sul lato opposto le Poison Girls si cimentano in " Persons unknown " che sembra più un pezzo dei primi Black Sabbath che una canzone punk-rock. In pratica: entrambe le band se ne sbattono della forma canzone (strofa/ritornello/strofa/ritornello etc..etc..) e degli stilemi compositivi/esecutivi del punk.
Curiosità: Vi Subversa é la mamma di Pete Fender e Gem Stone, componenti della band anarco-punk dei Rubella Ballet, che suonò spesso di supporto alle Poison Girls. [Nella foto: s oundcheck dei Crass, dietro ad un ampli compare Vi Subversa ]
>>> Download POISON GIRLS "All systems go" + CRASS "Nagasaki Nightmare" + POISON GIRLS/CRASS split 3 x 7" in .mp3 + complete art scan (.rar - 51,5 mb.)
0 comments:
Post a Comment