Sex Pistols

[Dr. Medulla]

It ain't that good, but it's a seriously mesmerizing freak show.

With all the shit being thrown at them it's amazing it sounds that good. Add to that a virtually non existent bass player in mind and ability.

It really is a “in spite of …” remarkable performance. I will never be dissuaded of the notion that Lydon in the 70s was just as compelling without the sound up. He was just a captivating performer thru and thru.

Re-reading Goodman's book recently about the time Pauline turned up at the Pistols dressing room and the band seeing this weird punky looking character they all left her with John. Goodman says when he and the other band members returned they found John looking as white as a sheet. Asking him "What's up" he told them about the aborted foetus she had with her in a carrier bag. All the song lyrics are genuine about her living in a tree house at a mental institution etc. Very sad tale really.

Jesus Christ. And I had no idea Dave Goodman wrote a book. I’ll be hunting it down.

Powerful song and the one on first hearing of the album that made me think fuck my Mum and Step-father will blow a fuse if they hear this booming out of my bedroom.

Yeah, it has that amazing adolescent primal scream quality. That eruption of fucks is like emptying the soul of all built-up angst.

[Marky Dread]

It ain't that good, but it's a seriously mesmerizing freak show.

With all the shit being thrown at them it's amazing it sounds that good. Add to that a virtually non existent bass player in mind and ability.

It really is a “in spite of …” remarkable performance. I will never be dissuaded of the notion that Lydon in the 70s was just as compelling without the sound up. He was just a captivating performer thru and thru.

Re-reading Goodman's book recently about the time Pauline turned up at the Pistols dressing room and the band seeing this weird punky looking character they all left her with John. Goodman says when he and the other band members returned they found John looking as white as a sheet. Asking him "What's up" he told them about the aborted foetus she had with her in a carrier bag. All the song lyrics are genuine about her living in a tree house at a mental institution etc. Very sad tale really.

Jesus Christ. And I had no idea Dave Goodman wrote a book. I’ll be hunting it down.

Powerful song and the one on first hearing of the album that made me think fuck my Mum and Step-father will blow a fuse if they hear this booming out of my bedroom.

Yeah, it has that amazing adolescent primal scream quality. That eruption of fucks is like emptying the soul of all built-up angst.

Yeah Goodman's book is a decent read. Some facts not quite spot on but all the Pistols books have errors.

A fairly solid book is "Worlds End A Chronology 1971-1978" it's a day-to-day diary style book with tons of great info with minimal errors.

I am still fascinated by who was behind issuing the "Spunk" album. Dave Goodman had an acetate cut of the '76 Denmark Street demos/The Wessex Anarchy and No Fun takes and the January 77 takes from Gooseberry/Eden studio. However Dave was not behind the bootleg. McLaren was also not behind the bootleg as he was bothered by it. Going as far as attempting to take a particular bootlegger to court over the release. But his company Glitterbest had put the wrong persons name on the paperwork so the judge threw it out.

Here's the fun bit McLaren complained to Virgin and Branson wasn't in the least bit interested. Saying that Virgin didn't own any of the material on the bootleg. This was of course true as the tracks were either the bands demos or made for A&M or EMI. Either way the band owned the material.
Only two of the tracks had been released officially The "Anarchy in the U.K." B-side "I Wanna Be Me" & the B-side to the withdrawn "God Save the Queen" single "No Feeling".

Only two people had the master tapes one being Dave Goodman and the other being McLaren. However McLaren's masters were not held as previously thought at his Glitterbest Office but at Virgin.

Now the track listing for the forthcoming "Bollocks" album was being constantly changed by McLaren with different test pressings being made at various stages of recording. Branson was getting fed up with not being able to get the album released and with McLaren's mind games and so on.

So it's thought "someone" at Virgin took the masters to Lyntone who Virgin used for flexi disc and promotional vinyls and had the bootleg pressed up.

Lyntone were duped into thinking it was an independent album by a band called "Spunk" no mention anywhere on the record of the Sex Pistols. The song titles had been changed also with "Anarchy in the U.K." being called "Nookie" and "I Wanna Be Me" called "Just Me" and so on.

The record was pressed up in an initial batch of 5,000. By someone with a big chunk of cash. Now I doubt very much it was Branson but at the time his cousin Simon Draper was working at Virgin. He would later promote a lot of the Virgin punk and new wave signings like XTC/PiL/The Skids etc. So although the book names no names it does state that legal stuff prevents them from mentioning who it is and that this person is still alive so that rules out both Goodman and McLaren.

It's unlikely that a normal staff member would have that amount of cash to throw around in 1977. So I think it was Branson's cousin as Branson was fed up of waiting to release the record and McLaren's shenanigans. The release couldn't hurt Virgin's sales and indeed it didn't as "Bollocks" went to number one on pre-orders alone.

[JohnS]

I am still fascinated by who was behind issuing the "Spunk" album. Dave Goodman had an acetate cut of the '76 Denmark Street demos/The Wessex Anarchy and No Fun takes and the January 77 takes from Gooseberry/Eden studio. However Dave was not behind the bootleg. McLaren was also not behind the bootleg as he was bothered by it. Going as far as attempting to take a particular bootlegger to court over the release. But his company Glitterbest had put the wrong persons name on the paperwork so the judge threw it out.

Here's the fun bit McLaren complained to Virgin and Branson wasn't in the least bit interested. Saying that Virgin didn't own any of the material on the bootleg. This was of course true as the tracks were either the bands demos or made for A&M or EMI. Either way the band owned the material.
Only two of the tracks had been released officially The "Anarchy in the U.K." B-side "I Wanna Be Me" & the B-side to the withdrawn "God Save the Queen" single "No Feeling".

Only two people had the master tapes one being Dave Goodman and the other being McLaren. However McLaren's masters were not held as previously thought at his Glitterbest Office but at Virgin.

Now the track listing for the forthcoming "Bollocks" album was being constantly changed by McLaren with different test pressings being made at various stages of recording. Branson was getting fed up with not being able to get the album released and with McLaren's mind games and so on.

So it's thought "someone" at Virgin took the masters to Lyntone who Virgin used for flexi disc and promotional vinyls and had the bootleg pressed up.

Lyntone were duped into thinking it was an independent album by a band called "Spunk" no mention anywhere on the record of the Sex Pistols. The song titles had been changed also with "Anarchy in the U.K." being called "Nookie" and "I Wanna Be Me" called "Just Me" and so on.

The record was pressed up in an initial batch of 5,000. By someone with a big chunk of cash. Now I doubt very much it was Branson but at the time his cousin Simon Draper was working at Virgin. He would later promote a lot of the Virgin punk and new wave signings like XTC/PiL/The Skids etc. So although the book names no names it does state that legal stuff prevents them from mentioning who it is and that this person is still alive so that rules out both Goodman and McLaren.

It's unlikely that a normal staff member would have that amount of cash to throw around in 1977. So I think it was Branson's cousin as Branson was fed up of waiting to release the record and McLaren's shenanigans. The release couldn't hurt Virgin's sales and indeed it didn't as "Bollocks" went to number one on pre-orders alone.

Great and very plausible theory Marky. Part of the appeal of the Pistols is the mystique(?) around that Spunk album - it seemed so perfectly apt for a band who were pretty much outlaws to the music biz, to have a bootleg album out before their actual LP.
I should add that re. 'Bodies' the band pushed repeatedly for it to be a single, but McLaren said no - even he must have thought it would be a step too far!

[Marky Dread]

I am still fascinated by who was behind issuing the "Spunk" album. Dave Goodman had an acetate cut of the '76 Denmark Street demos/The Wessex Anarchy and No Fun takes and the January 77 takes from Gooseberry/Eden studio. However Dave was not behind the bootleg. McLaren was also not behind the bootleg as he was bothered by it. Going as far as attempting to take a particular bootlegger to court over the release. But his company Glitterbest had put the wrong persons name on the paperwork so the judge threw it out.

Here's the fun bit McLaren complained to Virgin and Branson wasn't in the least bit interested. Saying that Virgin didn't own any of the material on the bootleg. This was of course true as the tracks were either the bands demos or made for A&M or EMI. Either way the band owned the material.
Only two of the tracks had been released officially The "Anarchy in the U.K." B-side "I Wanna Be Me" & the B-side to the withdrawn "God Save the Queen" single "No Feeling".

Only two people had the master tapes one being Dave Goodman and the other being McLaren. However McLaren's masters were not held as previously thought at his Glitterbest Office but at Virgin.

Now the track listing for the forthcoming "Bollocks" album was being constantly changed by McLaren with different test pressings being made at various stages of recording. Branson was getting fed up with not being able to get the album released and with McLaren's mind games and so on.

So it's thought "someone" at Virgin took the masters to Lyntone who Virgin used for flexi disc and promotional vinyls and had the bootleg pressed up.

Lyntone were duped into thinking it was an independent album by a band called "Spunk" no mention anywhere on the record of the Sex Pistols. The song titles had been changed also with "Anarchy in the U.K." being called "Nookie" and "I Wanna Be Me" called "Just Me" and so on.

The record was pressed up in an initial batch of 5,000. By someone with a big chunk of cash. Now I doubt very much it was Branson but at the time his cousin Simon Draper was working at Virgin. He would later promote a lot of the Virgin punk and new wave signings like XTC/PiL/The Skids etc. So although the book names no names it does state that legal stuff prevents them from mentioning who it is and that this person is still alive so that rules out both Goodman and McLaren.

It's unlikely that a normal staff member would have that amount of cash to throw around in 1977. So I think it was Branson's cousin as Branson was fed up of waiting to release the record and McLaren's shenanigans. The release couldn't hurt Virgin's sales and indeed it didn't as "Bollocks" went to number one on pre-orders alone.

Great and very plausible theory Marky. Part of the appeal of the Pistols is the mystique(?) around that Spunk album - it seemed so perfectly apt for a band who were pretty much outlaws to the music biz, to have a bootleg album out before their actual LP.
I should add that re. 'Bodies' the band pushed repeatedly for it to be a single, but McLaren said no - even he must have thought it would be a step too far!

Yeah I think it was a favourite track of the band. But I also think they were getting fed up not having anything new out. The earlier version of "EMI Unlimited Edition" they had cut was a proposed single release for Dave Goodman's "The Label" imprint.

That would've made a great single and still have been very relevant.

McLaren of course was correct about "Bodies" that track had zero chance of air play or even being promoted. So we eventually got "Holidays in the Sun" which is still a great single despite it's "In the City" borrow.

Amazing how many different permutations the "Bollocks" album went through. I like the one where there is a refrain of Rottens "Problems, Problems" mantra.

[Kory]

McLaren had a big mouth but couldn't walk the walk

[Dr. Medulla]

McLaren had a big mouth but couldn't walk the walk

Witness his initial reaction to Grundy, thinking they'd blown it. Only after a bit does it become part of his carefully laid out master plan. Swindles upon swindles.

[Marky Dread]

McLaren had a big mouth but couldn't walk the walk

Witness his initial reaction to Grundy, thinking they'd blown it. Only after a bit does it become part of his carefully laid out master plan. Swindles upon swindles.

Yeah he shit himself. But he soon turned it into a huge positive. Don't forget he had only just got them the EMI contract. Plus the band didn't know the show was going out live and thought everything would be edited. McLaren knew it was live.

Interesting that the Pistols had previously been on London Weekend Television Punk Special earlier in the year. When the band were shown live at the Notre dame Hall and an interview with Janet Street Porter from their Dennark St loft. Steve Jones had already said "fucking stop shoving" to Cookie as he jumps up off the bed. Nobody noticed and this was broadcast at lunchtime.

[Dr. Medulla]

McLaren had a big mouth but couldn't walk the walk

Witness his initial reaction to Grundy, thinking they'd blown it. Only after a bit does it become part of his carefully laid out master plan. Swindles upon swindles.

Yeah he shit himself. But he soon turned it into a huge positive. Don't forget he had only just got them the EMI contract. Plus the band didn't know the show was going out live and thought everything would be edited. McLaren knew it was live.

Interesting that the Pistols had previously been on London Weekend Television Punk Special earlier in the year. When the band were shown live at the Notre dame Hall and an interview with Janet Street Porter from their Dennark St loft. Steve Jones had already said "fucking stop shoving" to Cookie as he jumps up off the bed. Nobody noticed and this was broadcast at lunchtime.

Sure he spun it to his ends, but at the moment, everyone revealed their true selves. The band were smart-ass kids having fun with the opportunity to be on tv, while McLaren was responding like he was Brian Epstein, worrying about the recording deal and distinctly non-rebellious stuff. The band were definitely several steps ahead of him at that point in terms of being contrarian.

[Marky Dread]

McLaren had a big mouth but couldn't walk the walk

Witness his initial reaction to Grundy, thinking they'd blown it. Only after a bit does it become part of his carefully laid out master plan. Swindles upon swindles.

Yeah he shit himself. But he soon turned it into a huge positive. Don't forget he had only just got them the EMI contract. Plus the band didn't know the show was going out live and thought everything would be edited. McLaren knew it was live.

Interesting that the Pistols had previously been on London Weekend Television Punk Special earlier in the year. When the band were shown live at the Notre dame Hall and an interview with Janet Street Porter from their Dennark St loft. Steve Jones had already said "fucking stop shoving" to Cookie as he jumps up off the bed. Nobody noticed and this was broadcast at lunchtime.

Sure he spun it to his ends, but at the moment, everyone revealed their true selves. The band were smart-ass kids having fun with the opportunity to be on tv, while McLaren was responding like he was Brian Epstein, worrying about the recording deal and distinctly non-rebellious stuff. The band were definitely several steps ahead of him at that point in terms of being contrarian.

Sure the kids were just being themselves. And yes McLaren thought they had fucked up big time. But I don't think the band were ahead of him in being contrarian. He just had to see the spin and that took him all of a couple of hours to realise he would use the band and the press.

The whole thing was very last minute. The band didn't want to do the interview as they were rehearsing in Denmark St. but Malcolm told them they wouldn't get their wages if they didn't do the show.

[Dr. Medulla]

McLaren had a big mouth but couldn't walk the walk

Witness his initial reaction to Grundy, thinking they'd blown it. Only after a bit does it become part of his carefully laid out master plan. Swindles upon swindles.

Yeah he shit himself. But he soon turned it into a huge positive. Don't forget he had only just got them the EMI contract. Plus the band didn't know the show was going out live and thought everything would be edited. McLaren knew it was live.

Interesting that the Pistols had previously been on London Weekend Television Punk Special earlier in the year. When the band were shown live at the Notre dame Hall and an interview with Janet Street Porter from their Dennark St loft. Steve Jones had already said "fucking stop shoving" to Cookie as he jumps up off the bed. Nobody noticed and this was broadcast at lunchtime.

Sure he spun it to his ends, but at the moment, everyone revealed their true selves. The band were smart-ass kids having fun with the opportunity to be on tv, while McLaren was responding like he was Brian Epstein, worrying about the recording deal and distinctly non-rebellious stuff. The band were definitely several steps ahead of him at that point in terms of being contrarian.

Sure the kids were just being themselves. And yes McLaren thought they had fucked up big time. But I don't think the band were ahead of him in being contrarian. He just had to see the spin and that took him all of a couple of hours to realise he would use the band and the press.

The whole thing was very last minute. The band didn't want to do the interview as they were rehearsing in Denmark St. but Malcolm told them they wouldn't get their wages if they didn't do the show.

You're much kinder to him in assessing his response. I'll certainly credit him for (eventually) realizing the situation and shifting gears, but before that his approach was far more conventional than the weirdos he was managing.

[Marky Dread]

Witness his initial reaction to Grundy, thinking they'd blown it. Only after a bit does it become part of his carefully laid out master plan. Swindles upon swindles.

Yeah he shit himself. But he soon turned it into a huge positive. Don't forget he had only just got them the EMI contract. Plus the band didn't know the show was going out live and thought everything would be edited. McLaren knew it was live.

Interesting that the Pistols had previously been on London Weekend Television Punk Special earlier in the year. When the band were shown live at the Notre dame Hall and an interview with Janet Street Porter from their Dennark St loft. Steve Jones had already said "fucking stop shoving" to Cookie as he jumps up off the bed. Nobody noticed and this was broadcast at lunchtime.

Sure he spun it to his ends, but at the moment, everyone revealed their true selves. The band were smart-ass kids having fun with the opportunity to be on tv, while McLaren was responding like he was Brian Epstein, worrying about the recording deal and distinctly non-rebellious stuff. The band were definitely several steps ahead of him at that point in terms of being contrarian.

Sure the kids were just being themselves. And yes McLaren thought they had fucked up big time. But I don't think the band were ahead of him in being contrarian. He just had to see the spin and that took him all of a couple of hours to realise he would use the band and the press.

The whole thing was very last minute. The band didn't want to do the interview as they were rehearsing in Denmark St. but Malcolm told them they wouldn't get their wages if they didn't do the show.

You're much kinder to him in assessing his response. I'll certainly credit him for (eventually) realizing the situation and shifting gears, but before that his approach was far more conventional than the weirdos he was managing.

Conventional is not a word I think of where Malcolm is concerned. This is the guy who wanted "Anarchy" put in a plain black record sleeve because he didn't want just anybody to find it. The reason for Malcolm's initial panic was only one of finance. But when he saw the press he already knew there was no such thing as bad publicity. He was concerned it would be the end of the group.

But he was a just as much a miscreant as the others were.

[Sparky]

It ain't that good, but it's a seriously mesmerizing freak show.

With all the shit being thrown at them it's amazing it sounds that good. Add to that a virtually non existent bass player in mind and ability.

Originally called "Body" but changed because of an Alice Cooper song of the same name.

Re-reading Goodman's book recently about the time Pauline turned up at the Pistols dressing room and the band seeing this weird punky looking character they all left her with John. Goodman says when he and the other band members returned they found John looking as white as a sheet. Asking him "What's up" he told them about the aborted foetus she had with her in a carrier bag. All the song lyrics are genuine about her living in a tree house at a mental institution etc. Very sad tale really.

Powerful song and the one on first hearing of the album that made me think fuck my Mum and Step-father will blow a fuse if they hear this booming out of my bedroom.

Played this one over and over and over, but that's exactly how it was at my house, had to be prepared to jump up and turn the volume knob way down when the f-bombs starting flying on this one.

[Dr. Medulla]

Conventional is not a word I think of where Malcolm is concerned.

It's a relative measure here. Compared to the band and his later swindle trickster performance, he was pretty normal in terms of signing with a big label, getting the advance, and developing them. Much different post-Grundy when he became enamoured with the idea of sowing discord within for its narrative value.

This is the guy who wanted "Anarchy" put in a plain black record sleeve because he didn't want just anybody to find it.

I'd never argue against his (and Reid's and Westwood's) keen eye for catchy promo. Guerilla marketing to let your notoriety and, pre-Grundy, general obscurity work for you.

The reason for Malcolm's initial panic was only one of finance. But when he saw the press he already knew there was no such thing as bad publicity. He was concerned it would be the end of the group.

But that's kind of my point. Come summer of '77, he liked the idea of destroying the group if it would add to his narrative and game. Before, tho, he was working from a conventional idea of developing a band, single to single, eventual album, touring more widely. After Grundy, it's gimmick after gimmick.

[Marky Dread]

It ain't that good, but it's a seriously mesmerizing freak show.

With all the shit being thrown at them it's amazing it sounds that good. Add to that a virtually non existent bass player in mind and ability.

Originally called "Body" but changed because of an Alice Cooper song of the same name.

Re-reading Goodman's book recently about the time Pauline turned up at the Pistols dressing room and the band seeing this weird punky looking character they all left her with John. Goodman says when he and the other band members returned they found John looking as white as a sheet. Asking him "What's up" he told them about the aborted foetus she had with her in a carrier bag. All the song lyrics are genuine about her living in a tree house at a mental institution etc. Very sad tale really.

Powerful song and the one on first hearing of the album that made me think fuck my Mum and Step-father will blow a fuse if they hear this booming out of my bedroom.

Played this one over and over and over, but that's exactly how it was at my house, had to be prepared to jump up and turn the volume knob way down when the f-bombs starting flying on this one.

I had one of those cheap cassette players and the play button got jammed. I was sat at the family dining table trying to fix it and getting nowhere. My Step-father comes in and "says give it here boy" he starts forcing the button and it suddenly spings back. He pushes play and instantly the tape plays " a sociology lecture, a bit of psychology, a bit of fuckology.....no fun". "What is this bloody rubbish!" he shouts. Needless to say I had to keep out of his way for a while.

[Marky Dread]

Conventional is not a word I think of where Malcolm is concerned.

It's a relative measure here. Compared to the band and his later swindle trickster performance, he was pretty normal in terms of signing with a big label, getting the advance, and developing them. Much different post-Grundy when he became enamoured with the idea of sowing discord within for its narrative value.

This is the guy who wanted "Anarchy" put in a plain black record sleeve because he didn't want just anybody to find it.

I'd never argue against his (and Reid's and Westwood's) keen eye for catchy promo. Guerilla marketing to let your notoriety and, pre-Grundy, general obscurity work for you.

The reason for Malcolm's initial panic was only one of finance. But when he saw the press he already knew there was no such thing as bad publicity. He was concerned it would be the end of the group.

But that's kind of my point. Come summer of '77, he liked the idea of destroying the group if it would add to his narrative and game. Before, tho, he was working from a conventional idea of developing a band, single to single, eventual album, touring more widely. After Grundy, it's gimmick after gimmick.

I get what you are saying. But the thing about destroying the band at this stage is a myth. In the summer of '77 he wanted "God Save the Queen" out for the jubilee. He needed the band and when they were getting attacked in the aftermath of it's release he did get them out of the country. He wanted the band to succeed. I think it's very important to remember that "Bollocks" got to number 1 and technically so had "God Save the Queen". It's sloppy to say it was all down to publicity (not that you are suggesting this) as this denies the fact that they were one damn good band.

But a number 1 single and album is a big act to follow. So after the American tour had all but killed the band Malcolm knew it would be very unlikely they would achieve that type of success again. This is where he goes into his scheming and gimmicks. 1978 trying to put the film together gave him a free reign now John was gone. This is where he truly used Sid as an image and not a person.