PUSSY GALORE : Historia Del La Musica Rock LP

Fuck knows why this final Pussy Galore LP was overlooked when Mute gave Pussy Galore the reissue treatment a while back but, as with their very early material (anthologised briefly on the ace Corpse Love compilation), it's remained steadfastly out of print since it's initial release (c.1990) when it was judged a crushing disappointment by, um, virtually everybody...!
PG Lips
PG Arm
Recorded in somewhat reduced circumstances by a drastically reduced line-up (only Jon Spencer, Neil Hagerty & Bob Bert made the roll call), it's sounds as much like a Royal Trux record as anything we'd come to expect from P.G. (whose prior Dial M For Motherfucker LP was uber-sophisticated in comparison, an absoluteclassicmasterpiece of cut'n'paste yowl, twang & clatter - Albini at the controls, I believe?). Much of Historia De La Musica Rock staggers 'round, snotty & fucked up, in sullen methodone blues mode, periodically lapsing into a fractured Harmolodic semi-chaos that eclipses anything they'd attempted previously (unsurprisingly, R.Trux's towering Twin Infinitves was recorded not long afterwards). Despite the creeping dissonance, P.G. still manage to display an unexpected reverence for the blues, their threadbare cover of "Little Red Rooster" & the like suggesting that they'd suddenly begun to start taking The Stones semi-seriously after several years of amusingly putting the boot into 'em. Spencer, of course, went on to form The Blues Explosion hereafter & has expertly honed his act to such an extent that he's now essentially a karaoke caricature of himself (i.e. Junkyard-era Nick Cave channeling the spirit of James Brown for disillusioned call centre minions who've blown their trustfunds on E). It's a living, I suppose? Bert currently performs with International Shades (alongside Live Skull's Mark Cunningham amongst others), while Neil Hagerty continues to apply the Burroughsian cut-up technique directly to his brain via The Howling Hex, occasionally with spectacular results. He's a fucking genius but I suspect he'll have to wait 'til he's dead before most folk admit it...

Drop Dead

P.S. Has anybody out there got Oven Biat / 1 Yr Live?

Hoi-hoi to Elsebasto for the link.


DIE TODLICHE DORIS : Ohne Titel (7 Todliche Unfalle In Haushalt)

Like most English music fans of a certain age & persuasion, my most potent memory of Die Todliche Doris (my keyboard's an umlaut-free zone, sorry) is briefly seeing them on The Tube during Muriel Grey's ace Berlin special. Recorded a few years before the wall came down, it was an inspiring, slightly chaotic travelogue in the (early) style of The Face magazine, wherein Factory Records' rep Mark Reeder dragged Grey's game-for-anything camera crew through the labyrinth of secret bars, scary nightclubs & anarchic squats that made up West Berlin's underground scene at that point (1983 specifically). Along the way, she pinned down a brace of pivotal Berlin-based musicians for a chinwag - Malaria!, Einsturzende Neubauten, Die Toten Hosen (meh!) & our darling Deadly Doris being the most prominent. It was recorded around the same time that Doris released their Chore & Soli set, a music-related artefact that was promoted as a record but was actually something far more innovative (as per most of their back catalogue, you can read about it & download it for free c/o their website). Ohne Titel: 7 Todliche Unfalle in Haushalt (aka Without Title: 7 Deadly Accidents In The Home) was Doris's debut vinyl release - following a series of very lo-fi cassettes - & is still one of their most popular (i.e. it's relatively easy on the ear). Listening back to it now, it totally reflects the era & environment that spawned it, vividly encapsulating Berlin:1981. It was released c/o the mighty ZickZack label, of course - purveyors of fine 80s NDW & the Berlin sound generally (though ironically they operated out of Hamburg).

Coincidently, whilst clearing out some ancient VHS tapes recently I discovered the majority of that selfsame Berlin documentary on the end of an old Videodrome I'd recorded & ended up sitting down watching it again - great stuff (funnily enough, I'm reading Alex Cox's X Films tome at the mo' & that's really good too).


TALKING HEADS : 1975 Demos

Splendid stuff this, Talking Heads' original 15-song demo tape, recorded by the fledgling 3-piece line-up (i.e. no Jerry Harrison as yet) for CBS Records in late '75, not too long after their live debut at CBGB's on 8th June, supporting The Ramones. A couple of these tracks were tided up for inclusion on the Sand In The Vaseline anthology back in 1992, but that's l-o-n-g out of print so I've bundled the entire set herein. This, needless to say, is how I prefer my Talking Heads - in their nervous, scrawny lo-fi glory. Bassist Tina Weymouth reputedly (spuriously, I hope) familiarised herself both songs & instrument in the taxi on her way over to this session - hence their anxious, somewhat prudent disposition perhaps? However, as all the nascent Heads' finest performances anxious & somewhat prudent, that's fine by moi. No "1-2-3 Red Light" unfortunately, though you'll find it here as part of a nifty Max's live set from late 1976. Like I said, splendid stuff...


JOE CROW : Compulsion 7"

No ifs or buts, this is simply one of my favourite 7"s ever. I first heard "Compulsion" as a cash-strapped kid - Cherry Red's inflation-busting Pillows & Prayers sampler (a snip at 99p) was one of the few "new" records I could afford out of my pocket money pittance & was thereby probably the first independent LP I owned. Joe's track hit a chord with me immediately - a melancholy hyrbid of Robert Wyatt-esque vocals & lo-tech (early) Fad Gadget electronica - & I still listen to it once or twice a month when it pops up on iTunes, it's that good. In retrospect, that Pillows & Prayers comp definitely set me off down a path that I'm still traversing: The Monochrome Set, The Nightingales, Felt, Marine Girls, The Passage & Five Or Six are all on there, lining up alongside The Misunderstood's blinding "I Unseen" (still one my all-time fav psych/garage tracks). Pillows & Prayers is currently available as an authoritive (& Mojo award winning) 2xCD+DVD edition, though not for 99p unfortunately.

Joe himself was a member of legendary Brum band The Prefects, & hung on long enough after the name-chane to appear on a couple of early Nightingales singles. Lured away with the promise of a solo career by "mad" Mike Alway (El Records, etc), "Compulsion" was released, sold zilch & probably would've limped off into obscurity if Depeche Mode's Martin Gore hadn't covered it, for better or worse, on his Counterfeit EP (apparently his version's been licensed for inclusion in the forthcoming Donnie Darko sequel - why am I suddenly overcome by a profound sense of forboding, I wonder?). Joe released his first record since 1982, the Coincidence EP, a couple of years back, has returned to live performance (supporting The Nightingales amongst others) & is finally working on his debut LP. You can keep an eye on him here.
Joe Crow


HANATARASH : Hanatarashi

Hanatarash ("snot nosed") is what the young Yamatsuka Eye & Mitsuru Tabata got up to in Osaka before toning it down a bit & forming Boredoms/Zeni Geva. It's a pretty juvenile, Whitehouse-indebted racket (see: Hanatarash III: William Bennet Has No Dick) but not without some visceral, cathartic merit - providing you're fond of a little eye-watering, sinus-clearing power electronica now & then. It's perhaps worth bearing in mind that Hanatarash were as much about their extreme live performances as merely releasing records - slicing dead cats in half, terrorising the audience with circular saws & plate glass windowpanes or attempting to demolish the venue with a bulldozer were all part of the setlist at some point. The best bit is often the audience's energised/scared shitless response:

This is Hanatarash's eponymous debut from 1985 & it's ludicrously rare. If it leaves you craving more, be prepared to either pay through the nose for the privilege (the original Alchemy LPs are highly prized nowadays) or to track down Superman Cha Cha's recent (semi-legit?) We Are Hardcore set - five entire discs of early, ultra-harsh Hanatarash ear aggro...

Now clear that mess up, young man!

P.S. Linkage c/o Querbeet (thanks).



Erm, this is pretty fucking great! Total white noise vaudeville. Frat-noise whippersnappers Wolf Eyes'd curl up at the edges if you showed 'em this, I reckon? Am especially diggin' William B's ultra-camp Freddie Mercury moves! Hilarious...

CABARET VOLTAIRE : Live Berkeley 25 October 1980

Of all the original industrial outfits, it's Cabaret Voltaire that I've continued to return to. I first encountered them while still at school in the 1980s (when you were just as likely to hear "Nag Nag Nag" down the school disco as Numan's "Cars"), at which point they seemed impossibly opaque & exotic. Little did I realise they'd been quietly gestating just up the road in glamourous Sheffield. Their influences (Burroughs, Velvets, The Radiophonic Workshop) were inevitably passed down to me & continue to intrigue me to this day, a quarter of a century on. Personally, I don't feel they ever quite recovered from the loss of Chris Watson in 1981, at which point their progressive experimentalism & devout amateurism seemed to give way to an less engaging interest in new technologies & creeping commercialism (or realism, perhaps?). Ironically, it's their later, post-Watson, recordings that have dated the most. Their earlier recordings as a trio still sound extraordinary & otherwordly & I still find myself listening to them on a regular basis. Live tapes from this period don't appear online very often, so I suggest you snap this one up pronto - many thanks to Proskynesis for posting the original link, it's an absolutely stunning artefact...

Expect Nothing


CAPTAIN BEEFHEART & HIS MAGIC BAND : Lick My Decals Off, Baby LP + Demos

That fleeting yatter of Trout Mask Replica back there put me in mind of it's immediate follow-up, 1970's monstrous Lick My Decals Off, Baby. Decals, reputedly, remains Beefheart's highest UK charting album (reaching #20, due largely to Peel's tireless patronage), was brought to you c/o Zappa's Straight imprint & is, apparently, The Captain's personal favourite of all his LPs. Though more honed & reigned-in than it's predecessor, it's still wildly experimental & way off the trad. rock radar. And it's still not available in HMV (bad vuggum). I've appended it with a bunch of interesting Decals' demos & session outtakes , courtesy of Hal's Progressive Rock blog. Hoi-hoi!

BIG FLAME : Rigour 1983-1986 (1996)

Arguably the most astonishing band on Ron Johnson's roster - though not necessarily my personal favourite (that'd be A Witness or The Shrubs) - Big Flame were, without a doubt, the label's "Outstanding Contribution to Music". John Peel absolutely adored them in their day, unsurprisingly - first impressions (i.e. the Sink! 7") suggested that they were a punked-up, pitched-up Beefheart tribute act - Trout Mask Replica at 78rpm, or something. Wrong. What Big Flame did have in common with Van Vliet's polarising masterpiece is the plethora of memorable riffs & brickbats simply itching to emerge from their torrent of scratchy chaos, providing you were prepared to invest a little heavy duty listening time. Big Flame were at the forefront of that other "C86" vanguard, the one that indolent (or merely uninformed) music journalists prefer to overlook these days - the jagged funk/punk squall of Bogshed, Mackenzies, early Age Of Chance, & the aforementioned Shrubs & A Witness (we weren't all sporting coy fringes & Anna Karina hair grips back then, y'know), all of whom have been written out of 1980s music history by Stalin-esque cuties like Bob Stanley & his beige ilk. Conspiracy!
Big Flame = three Mancunian Revolutionary Socialists miscreants (with guitars) - none of whom ever performed in George Michael's backing band, despite the rumours & backyard yatter - who "set out to change the world. After five 3-track 7"singles, fighting everyone and everything we called it a day at the Boardwalk Manchester in October 1986. But we did change the world, fullstop". In 1996, Drag City briefly compiled all of those 45s onto a single CD. That CD was up for sale on Amazon for £153.39 (splutters, drops Daily Mail, etc) at the time of writing. It's worth it. Big Flame, after all, were very good indeed.


N.B. They've got a website but it was phaffing about last time I visited. Tsk.

MARS : The Complete Studio Recordings NYC 1977-1978 (2004)

It's come to my attention that this marvellous document (released by the Spanish G3G label in 2004 & a long term personal fav) is currently out of print. Now then, I'm assuming any broadminded soul who's found their way onto this blog will already be fully conversant with Mars, & No Wave in general in fact (there wasn't that much of it to be conversant with, afterall), but if, inexplicably, that's not the case then you need to listen to this right fucking now. Not because hearing it is going to change your life (though it's a distinct possibility), but because the only other option for hearing Mars' miniscule back catalogue is c/o Atavistic's reissue of Widowspeak's 78+ compilation, & that simply ain't good enough. Though the Widowspeak LP set an important precedent in the mid-80s by being the first thorough reissue of any of the major No Wave acts' work, the recordings thereon have been posthumously fiddled with (sorry, "reprocessed"), often to the point of distraction (& certainly to their detriment), by J.G. "Foetus" Thirwell (then-boyfriend of Widowspeak benefactor, Lydia Lunch). For several years I was under the misconception that that was how Mars were supposed to sound & when I finally got to hear some of their unmeddled-with recordings I was "surprised" to say the least ("pissed off", actually). Thirwell's fog-like botch job robs Mars of their serated sonic edges, needlessly submerging them under waves of ambient hiss & echo until it sounds like you're listening to them through several miles of NY subway tunnel. Pointless vandalism, basically.
The G3G collates all of their studio recordings (the Ze & Lust/Unlust 45s plus their contributions to Eno's No New York comp) & sounds exactly how Mars intended it to - accept no substitute, therefore. Les Disques Du Soleil Et De L'Acier's scarce live CD is mandatory listening also, despite the fact much of it sounds like it might've been recorded on wax cylinder - I like records that sound that way fortunately - remind me to post it at some point.

Rebel Infidelity


SLINT : Live In Chicago 1989

Hey, you know Slint, right? Of course you do. Tight with Albini & partially related to Squirrel Bait, they were an astonishing mid-80s outfit with a fetish for King Crimson's Red who accidently invented post-rock. Or something. They split in 1991 & have since gone onto to become deservedly influential but hideously over-rated (oh, admit it). They inexplicably reformed in 2005, for no reason other than to (creditably) blow their mystique, then disappeared again just as quickly - just as well on the basis of humdrum new composition, "King's Approach". I played my Jennifer Hartman copy of Tweez this morning before work & have been itching to listen to some live guff by their original incarnation all day. Chicago 1989 is what popped up when I Googled 'em (possibly recorded on 3rd March but don't quote me). Being a Brit, I never managed to catch 'em live first time 'round. The nearest I got was seeing Will Oldham on his first Palace Brothers tour here, upstairs in a tiny room above a long-demolished pub, with most of the original Slint line-up as his backing band. Twas a great night, trust me. Will was cleanshaven & had a full head of cherubic blonde curls (imagine). Ethan Buckler went on to form King Kong & I can't think of a bigger, better "fuck you" gesture than that...




Don't laugh, but I've only just discovered this lot. I somehow managed to miss them entirely whilst immersed in hardcore & it's many sub-generic tentacles back in the mid-80s so, despite still being well versed in the back catalogues of the SST & Dischord bands, The Middle Class still seem relatively fresh & exciting from where I'm perched...

Formed in California in 1976, there's serious debate as to whether The Middle Class pre-date both Washington's Bad Brains & Minor Threat-fronted Dischord scene. Interestingly, they released their first 7", January 1979's mould-shattering Out Of Vogue EP, concurrently with Black Flag's (still awesome) Nervous Breakdown debut. Some pundits maintain that The Middle Class were regularly playing several months prior to Black Flag's inaugeral public appearance, suggesting that the former might actually have exerted some influence on Greg Ginn & co.'s fledgling outfit. By the time of their Scavanged Luxury EP in 1980, The Middle Class were already displaying subtle, artier inclinations & an eagerness to offload hardcore's stifling "loud fast rules"-type conservatism - a result of obsessing over imported Wire, Gang Of Four & (early) Cure albums, no doubt? Their own (& only) full length album, 1982's dark & powerful Homeland, dispenses with the h/c stylings altogether &, despite being such a progressive & impressive collection of songs, has been consistently overlooked - unjustly as it's the one of the great "lost masterpieces" of the period (love that M.Garrett-inspired sleeve too!). Though the EPs & various demo & live offcuts have been anthologised on more than one occasion (primarily on the Blueprint For Joy compilation), Homeland remains out of print & out of sight, unavailable since it's original 1982 Pulse issue. Explanation somebody please...


N.B. I'm v.pleased to confirm that the Mike Patton who played bass for The Middle Class is not, repeat NOT, the Mike Patton of ex-Faith No More "reknown" & subsequent self-satisfied avant garde grunting 'n' gurning (I checked). And there's an exhaustive i/v over at Angry Shorthand if you're want to know more. Oh, & many thanks to Rocket Science for the linkage btw (I'd probably have never heard Homeland myself if they hadn't taken the time to post it).

Also... Frontier Records have apparently unearthed a stash of the last few original vinyl copies of the '82 Pulse LP & are flogging 'em, on a first-come, first-served basis, here. Once they're gone, they're gone...


BLACK FLAG : 1982 Demos

BF Demos
I dragged my Black Flag vinyl out of the archive at the weekend & have spent the last few days listening to little else. To say that I'm "positively energised" is putting it mildly - listening to that stuff again after several years' abstainence is like chugging half a dozen big mugs of black coffee (I imagine - I'm more of a tea afficianado myself tbh). Their pre-Rollins recordings are still my favourites - hyped-up, uber-snotty hardcore punk rock with intelligent, often hilarious lyrics & (N.B. this is probably the important bit) great tunes. After Rollins signed up things got a lot heavier (musically & lyrically) very quickly. Though their debut LP Damaged is the definitive American punk rock masterpiece & arguably one of the best LPs of the '80s full stop, I've always prefered the earlier versions of those songs, eventually anthologised on the sanction-busting Everything Went Black album. Everything Went Black, as you probably already know, slipped out while the band was embroiled in a protracted legal dispute with MCA Records over Damaged's release. Temporarily unable to release anything under the Black Flag monicker, E.W.B. was initially issued with just the band members' name listed alphabetically on the sleeve, though Greg Ginn & Chuck Dukowski apparently ended up spending several days in jail as a direct result of releasing it anyway! During this enforced layoff, the band continued to habitually document their songs regardess, & when MCA's injunction was finally lifted they immediately exploded back into action & spewed out four new LPs in 1984 alone (all via Ginn's own SST label). The best of these, the harder core than thou My War, alienated the more conservative factions of their following by ditching the h/c riffage for semi-metallic free-gtr dischord &, on side 2, dropping the tempo to an agonising (creepy) crawl, it's trio of l-o-n-g songs sounding like Black Sabbath on smack whilst lyrically pre-empting the emotionally confrontational self-loathing of Swans. The sonic equivalent of a slug crawling along a razor blade basically.

Many of the songs that made up that slew of 1984 LPs turn up in raw, visceral form on The Complete 1982 Demos along with a couple of titles that never made it onto vinyl. I'm not suggesting these versions are superior to the official ones, just that they provide some blistering, rivetting alternatives. Some fans'll tell you that this is the band's finest line-up, with pre-Rollins vocalist Dez Cadena retained on second guitar & Chuck Biscuits (ex-DOA) behind the drums. Tracks 1-10 are the original '82 demos (though allegedly not all of them), recorded when the band were still short of a bassist, with Greg Ginn doubling up under his Dale Nixon pseudonym. The other final songs were recorded at L.A.'s Radio Tokyo studio just after Kira Roesseler (longtime wife of ex-Minutemen bassist Mike Watt) had joined the band & are, frankly, hot shit. Typical illustrative gallows humour from Raymond Pattibone too. N.B. PLAY VERY LOUD.

Flag 2

Beat your head against the wall


SIMPLE MINDS : Live 1979

See? They really were the best band in the world (for about 10 minutes in 1979). "Premonition" still sounds absolutely MASSIVE, don't you think? Gotta love Jim Kerr's uber-Ned haircut! And while we're on the subject...

DAVID BOWIE : 1971 Outtakes

I don't get people who don't "do" Bowie. I've loved his music for - literally - as long as I can remember. The first item of clothing I recall choosing for myself (bankrolled by mum, obviously) was a cheapo Soul Train-era Bowie t-shirt, purchased from one of those promenade "printed-while-u-wait" heatpress transfer joints that every seaside town seemed to have in the 1970s (did anybody notice when these emporiums of tat finally faded out, it seemed like I turned 'round one day & they'd all shut up shop?). Dutifully, I wore until it fell apart & was reincarnated as a duster by my industrious muvver*. I honestly cann't recall a point in my life that's pre-Bowie - I've been listening to his music as long as I've listening to music full stop, I think? So I 'spose it was only a matter of time before I posted something Bowie-related...

To be honest, it's been a case of finding something of sufficient audio quality & historical fascination value to share, rather than merely posting for the sake of it - there are plenty of inspiration-free 'gloids uploading his entire discography if that's what you've mistakenly arrived here looking for. Even though The Dame has always kept a notoriously tight reign on his archives, there are still thousands of hours' worth of live recordings up for grabs online, spanning his entire career. Following his split from manager Tony De Fries' Mainman organisation in the mid-70s, very little of interest appears to have leaked out from under the studio door - some great Scary Monsters-era demos (on the Vampires Of Human Flesh boot) are about as good as it gets. Material recorded prior to their parting of ways has seeped out however &, though sound quality is frequently an issue (i.e. much of it has been dubbed & re-dubbed so many times that it's been rendered virtually unlistenable), Bowie was evidently discarding terrific songs at such a staggering rate back that most of it is worth a listen.
Of all the unreleased recordings I've heard, these 1971 masters are undoubtably the finest. Apparently sourced from the original EMI-sequestered tapes, 6 of these 7 songs have yet to be formally issued & the sound quality isn't far short of fantastic (way superior to other boots you might've found them on). Only "I've Got Lightning" (aka "Lightning, Frightening") has been granted an official release to date - as an additional track on Ryko's '90s reissue of The Man Who Sold the World - but with it's intro clumsily trimmed to eradicate a very minor faux pas. Of the rest, "Looking For A Friend" is a superior Stones-y re-recording of the scrapped Arnold Corns single; "Rupert The Riley" (2 versions included) & "Right On Mother" are a couple of brilliantly wonky pop ditties that wouldn't have sounded out of place on Hunky Dory (the former is actually fronted by Arnold Corns' vocalist Freddie Burrettii, but don't let Bowie's absence put you off, it's a bona fide corker); & "Tired Of My Life" is a very early dry run for 1980's "It's No Game" (suggesting The Dame is not averse to rummaging through her archives for inspiration on occasion). "Shadow Man" & "How Lucky You Are" (aka "Miss Peculiar") are the real standouts here however - it's difficult to understand why either of them were written out of Bowie's mid-70s oeuvre, they're both astonishingly good, fully-fledged songs. Though he revisted the former during the aborted Toy project in 2001 (that version slipped out on the b-side of Heathen's "Slow Burn" & "Everybody Says '"Hi'" singles) this original take immediately attains "Lost Classic" status. It's brilliant, basically - God knows why it didn't make it onto Ziggy.

New link! How Lucky You Are

*Funnily enough, I've spent the last few years sporadically trawling the web in the hope of finding solid photographic evidence that that shirt actually did exist. Surely somebody else out there must've owned one & uploaded a period Polaroid of themselves wearing it somewhere online? Lo & behold, a couple of weeks ago I discovered a brand spanking new 'un on eBay - a batch of original transfers, long squirreled away, had come to light & were being offered up for auction by some enterprising soul. Seriously, ain't the internet grand?


HARRY PUSSY : In An Emergency You Can Shit On A Peurto Rican Whore

Harry Pussy exploded out of Miami at the arse-end of that whole, confusing cassette underground brouhaha sometime circa 1992 & were the spearhead of Siltbreeze's first wave of mentalist bands. From where I'm sitting, the current roster of Times New Viking, Eat Skull, Psychedelic Horseshit & the like sounds seriously anaemic in comparison to that earlier vanguard of The Dead C, Strapping Fieldhands, Sandoz Lab Technicians, the Jim Shepard army, Mike Rep & The Quotas, Thomas Jefferson Slave Apts & das Pussy - what do you think? I've still never quite worked out whether Harry Pussy were actually attempting to out-extreme every other mover & shaker of that particular scene (thereby providing it's deservedly undignified denouement, a little bit like The Sex Pistols in relation to Rock & Roll) or if they just made their music as intensely annoying an endurance test as possible to see how many jaded hipsters (i.e. moi) would buy it & dutifully listen to it in it's entirety. A little bit of both maybe? Either way, their records (& there were rather a lot of them) tended to sound like complete shit (in a good way) & come packaged in badly photocopied, hamfisted collages or, in at least one instance, a sleeve fashioned from an old curtain (spraypainted for maximum effect). Essentially a duo, Bill Orcutt (guitar & vocals) & Adris Hoyos (drums, vocals & now happily married to The Shadow Ring's Graham Lambkin!), the ear-blistering racket they managed to rustle up between 'em remains eyewateringly over-the-top, & never more so than on this charmingly titled 1993 debut LP. Lightning Bolt? PAH!! If you can hang onto your rattling dentures long enough you'll make it as far as their fanfuckingtastic cover of Kraftwerk's "Showroom Dummies", which is about as close as they got a "pop" song. Or, indeed, a "song". Ever.


Of course, if they reformed now there'd be slavering journalistic re-evaluation aplenty, a 10-disc boxset to digitally document their every last fart & the inevitable run of lacklustre liveshows at the ICA. Remember 'em this way.