#peter shelley

[gatavagabunda]

[jodiendolotodo]

[music2liveby]

DAY 216: What Do I Get? by Buzzcocks

Album: Another Music in a Different Kitchen Release: March 10th, 1978 Genre: Punk

The evolution of certain genres over time always fascinates me. It’s like a family tree of music that descends generations and spawns different branches of subgenres that cultivate their own following and creates a niche all of its own. The interconnected web of influence and inspiration is mind numbingly intricate, and sources of ingenuity can be surprising to say the least. For Howard Trafford, a student at the Bolton Institute of Technology in England, his polarizing force to form what would become Brit-punk forefathers Buzzcocks was a song by the Velvet Underground. Trafford posted an ad around campus that called to rally musicians that shared similar fascination and interest in the Velvet Underground song Sister Ray, a fifteen minute epic that was par for the course with a band as strange as the Velvet Underground. Trafford met Peter McNeish through his ad, and the two developed a strong connection under their desire to emulate a sound like in Sister Ray.  Like I mentioned previously, it’s almost uncanny listening to Sister Ray and hearing the parallels to the Buzzcocks’ library of music. Buzzcocks came about in an English punk scene that was broken wide open by bands like Sex Pistols in an approach that relied less on edginess and more on disorganized simplicity. Trafford and McNeish would hop on the punk train officially in in February 1976, inspired by a review of the television series Rock Follies which proclaimed, “It’s the Buzz, Cock!” ‘Cock’ being the British slang for a friend, and ‘buzz’ referring to the high of performing on stage created the sexually implicit name Buzzcocks, which in turn created a new identity for the then-duo. Trafford would be known as Howard Devoto and McNeish as Peter Shelley, and together they took on the rising punk scene in England with open arms. However, Devoto would soon grow disinterested with the direction the band was taking, and left before any significant moves were made on the band’s part. Shelley now found himself as the primary leader of Buzzcocks as well as its vocalist, defined by the youthful and nasally voice that gave a cry of adolescence. Recruiting other musicians in the punk scene at the time, this new lineup soon signed to United Artists and released the controversial debut single Orgasm Addict which was met with calls for censorship by BBC. Shelley was not afraid to focus in extreme detail on taboo subjects such as rampant sexuality, and struck once again with the follow-up single What Do I Get? This track yearns for intimate affection and attention from another party, but instead of bliss Shelley receives...nothing at all. In the spirit of punk, What Do I Get? keeps it short and sweet and just under three minutes, but relies on the power chords of Steve Diggle to create the majority of the energy sustained in the song. In fact, What Do I Get? is one of the earliest examples of a pop-punk mashup that would later on find its footing as its own dedicated genre. So, just in case you’re following, The Velvet Underground gave us Buzzcocks, who very well could have inspired groups like Green Day. Quite a family tree, indeed. Unfortunately, Buzzcocks recently encountered a road block in their endeavors with the passing of Peter Shelley, leaving many to believe that the band’s best days are all but gone. It’s certainly one of the more unfair aspects of the music industry, but Buzzcocks definitely got the most out of their ride for what it was worth. If you’re not into the more hardcore aspects of punk, perhaps Buzzcocks is worth a listen!

[adamac]

'Love you More’ and “Noise Annoys’ 

Buzzcocks

on ‘Revolver’

with Peter Cook

[musicmags]

[clip-vob50s60s70s]

A lange collection of video clips will be posted on this page (community): wonderful and great bands and artists of the 70's, 60's and late 50's.

[jodiendolotodo]

[julio-viernes]

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Corría 1966 y Martin Stone tenía su propia masonería (que también puede traducirse, según veo, como albañilería). Arriba “Hot Rock”, la cara A del único sencillo que publicaron, un número R&B jazzy con ciertos latigazos espaciales a lo Joe Meek. En el grupo estaban Keith Tillman, luego en Aynsley Dunbar Retaliation y Bluesbreakers, y Peter Shelley, posterior creador de Magnet Records, artista en solitario y compositor para Alvin Stardust. Diez años y pico más tarde, Stone grabó un tema para el álbum de varios artistas de Stiff Records (cómo no), “A Bunch of Stiffs”, en el que resucitó el nombre Stones Masonry sin el apóstrofe. Un boogie instrumental sin complicaciones titulado “Jump For Joy”, producido por Nick Lowe.