My Top 10 British Films – 3

The Wicker Man (1973)

From the pen of the late, great Anthony Shaffer comes one of the most chilling, iconic and original films in all of movie history. Set on the fictitious Scottish island of Summerisle, the Wicker Man features superb performances by Edward Woodward as police Sergeant Howie and Christopher Lee as Lord Summerisle. Woodward has said that Howie was the best part he ever played, while Lee maintained that the Wicker Man was his finest film.

Supported by a deep bench of quirky and accomplished character actors, director Robin Hardy follows the increasingly labyrinthine twists and turns of Sergeant Howie’s investigation into the apparent disappearance of a young girl. Every step Howie takes into that remote community’s strange rites and customs brings him closer to his own carefully planned and agonisingly awful demise.

Hardy skilfully exploits Shaffer’s slow but relentless ratchet-turning writing to build a richly detailed, absorbing and thoroughly grounded society in which the hapless Howie quickly becomes lost, flounders and is ultimately destroyed. With a memorable music score and some excellent cinematography typical of the era, the Wicker Man is one of many films that disprove the idea that only a big budget production with aggressive marketing can stand the test of time.

Modern moviemakers and games developers often talk of depth or believability in the worlds they imagine, and this shoestring British classic is one of the earliest and best examples of that art. Schaffer didn’t just write characters, he created a compelling world for them to live in, complete with its own music, folklore and traditions. It is this cultural depth and attention to detail which makes an otherwise outrageous storyline compelling and believable, as the characters are moved and motivated by the world they inhabit and the values they regard as self-evidently true.

Dogged by production problems, shrouded in controversy and surrounded by rumour, the Wicker Man has become part cult classic and part urban myth in its own right, in a way peculiar to only a handful of movies released within the span of a few short years. Just like many of its contemporaries, it feels almost as though the Wicker Man has become somehow greater than the sum of its parts, as though something almost supernatural has seeped into the sprocket holes, waiting to be unleashed whenever the movie plays.

Now well into its fourth decade of life, the Wicker Man continues to delight, puzzle, outrage and intrigue movie fans and horror aficionados. Again, like many of its contemporaries, this movie boasts some of the most famous stills and publicity shots in cinema history, and its reliable appearance in authoritative lists of truly great films means that the Wicker Man will be reborn as each new generation comes of age.

My Top 10 British Films – 8

Asylum (1972)

“We’re a long way from Harley Street out here.”

From the legendary studios of Amicus Productions, Asylum is probably the finest example of the many classic British horror anthologies that graced our screens during the sixties and seventies.

Starring Robert Powell as a young and idealistic psychiatrist, Asylum explores the tall tales and terrifying truths behind four patients’ incarceration at a gloomy and remote institute for the criminally insane. Sensibly light on the gore, Asylum is instead heavy on a slow-burning creepiness in which was one of the seventies’ greatest cinematic gifts to the world. I need only mention the words “brown paper” or “shop dummy” to give anyone who’s seen this movie an immediate attack of shivers.

What makes this relatively low budget film stand head and shoulders above its peers is the surprising quality of the both the cast and the writing. As well as Powell in the lead role, the credits boast no lesser names than Peter Cushing, Britt Ekland and the perennially underrated Herbert Lom to name but a few. The outlandishness of each segment is well balanced by a gritty realism which set Amicus apart from Hammer Films, its main rival of the period. Indeed, it’s the Amicus trademark of the outrageous ideas expressed through mundane situations which make many of the scenes from this classic movie so memorable and disturbing, despite their being so obviously unbelievable. The wrap around story of the aspiring psychiatrist helps to ground the whole movie far more effectively than its contemporaries. Psycho author Robert Bloch made sure to pay particular attention to this often neglected part of the anthology and cunningly exploit its full potential. The doctor’s own tale builds to an unexpected and very satisfying final twist, having been expertly moved along by Patrick Magee and Geoffrey Bayldon, two more hugely talented and undeservedly obscure actors of the period.

Asylum is one of the best examples of a movie becoming greater than the sum of its parts, and despite the fact it’s only make believe, there are few who won’t pull a face or make some dark remark when some of the more memorable segments are mentioned. That’s quite a feat for a film that’s now forty years old and made on a shoestring. Asylum has stood the test of time and held its own amongst many younger and far bloodier rivals, thus earning its place in my top 10 British films.

My Top 10 British Films – 9

The Rebel (1961)

Tony Hancock stars in his default role as a dour and downtrodden version of himself in this witty and prescient exploration of a nihilistic, self-referential and obsessively obscurantist art establishment.

Cursed with a big dream and a small talent, Hancock struggles to cope with the confines of his orderly, predictable and comfortably dull life as a junior clerk at an accounting firm, until at last his repressed inner artist finally breaks free to reshape his life forever. Fleeing from stuffy London to bohemian Paris, Hancock’s singular lack of painting talent is soon mistaken for a new and profound artistic expression as he rapidly rises to the pinnacle of European creative society through a mixture of good fortune, fast talking and the rigid intellectual conformity of an outwardly rebellious clique.

Emulated by struggling painters, courted by wealthy industrialists and pursued by their wives, Hancock’s every action and utterance is elevated to the status of profundity and uncommon insight as the aesthetic establishment both buys into and bolsters Hancock’s own delusions of greatness. As a result both his fame and resale value continue to increase not only for him, but for an ever-expanding orbit of agents, exhibitors and other hangers-on within the creative community.

Naturally it can’t last, and eventually the artistic world turns against him, declaring his work to be puerile and shallow, even though Hancock remains as reliably inept as he’s ever been. With the cycle completed, the film closes with Hancock back in his old London lodgings, having gained only a few hot meals while his agent has pocketed yet another fortune and moved on to the next creative meal-ticket.

In its own gentle yet insightful way, the Rebel is a conglomeration of Hancock’s earlier output, shining a light on a man who’s desperate to be taken seriously as an artistic and intellectual force, but lacks the background, connections and raw talent required to realise his dreams. Some famous Hancock’s Half Hours such as the Poetry Society and the Gourmet are writ large as his character struggles to realise the greatness he firmly believes is predestined, and yet is constitutionally incapable of reaching. In fact it’s this underlying theme that runs through almost the entire body of his work, making Hancock’s career in comedy and his untimely demise all the more poignant and touching, as life and art turned and turned about so often throughout his life that it was difficult to tell one from the other.

One of the things that makes Tony Hancock’s comedy so enduring is that we recognise ourselves in that simple working man who finds some small way to fight back against his crushing nihilistic existence each and every day. From the Rebel’s brilliant monologue on the morning commute to the perfectly executed choreography of the accountancy office, we lend Hancock our sympathy and support because we’ve all felt his existential agony first hand.

The foundational ideas underpinning the Rebel are as relevant today as they were in 1961, as we watch an increasingly remote artistic elite drifting ever further into conceptual obscurity, while still claiming to be the authentic voice and conscience of the human experience. Once inside that protected, moneyed and insulated clique, the stark choice between conformity and obscurity can be a powerful persuader for even the most ardent expressive soul.

The big joke running through the whole of the Rebel is that it’s not really a study of rebellion at all, but an ironic and cutting exposure of a shallow, self-absorbed and viciously conformist artistic establishment.

The Rebel provides much food for reflection in this time of great change.

My top 10 British Films – 10

Yield to the Night (1956)

J Lee Thompson directs a young Diana Dors’ compelling portrayal of condemned prisoner Mary Price Hilton in this suffocating study of banal, bureaucratic torture. Stripped of her trademark bombshell costumes and makeup, Dors looks uncommonly vulnerable as a true understanding of her plight begins to dawn as appeals fail and hope fades. Without her legendary good looks to hide behind, Dors gives the performance of her career as the fallen party girl transformed into a pale and mournful lost soul, hollowed out and shuffling around the prison grounds in a tortuous cycle of waiting and worrying as her inescapable fate approaches.

On constant suicide watch, the tension of mundane routines slowly climbs to an unbearable peak as Hilton struggles to ascribe some worthwhile meaning to her life and her final days in the claustrophobic condemned cell as she endures the agony of awaiting the noose. Eating, sleeping, smoking and playing cards with the prison officers surrounding her as the clock ticks down in that cold and spartan prison regime. The interplay between Hilton and her “matrons” is especially absorbing, as the surrounding staff struggle to balance their common humanity against their clear and inflexible judicial duties, with the invisible walls between the condemned and her handlers constantly being probed, breached and re-built as those charged with supervising Hilton’s state sanctioned demise struggle with the burden of their own individual consciences.

With nothing left to lose, Mary recounts the tale of how she came to be waiting at the scaffold, revealing a very human story of feminine jealousy, insecurity and lack of maturity, culminating in the murder of a rival for her lover’s affections. This moving and personal account is an excellent reminder that behind the headlines there is often a tragic and complex human story that all too often remains unexplored.

As Mary’s story reaches its inevitable climax, the tension of boredom becomes unbearable, forcing the watcher to almost feel sorry for the staff surrounding her as they stoically suffer and share in her psychological torture. When at last the final appeal is rejected, each tries to offer solace in her own clumsy and misguided way, while each knows there can no reprieve, no matter how much genuine remorse they believe condemned might feel.

While not exactly a fun family night in, Yield to the Night is an excellent example of the lost art of building tension through inaction. It often reminds me of the first twenty minutes of Psycho, where very little happens, yet the audience finds itself glued to the screen, afflicted by an almost inexplicable morbid fascination for every twist and nuance in a character’s complex relationships, despite already knowing how the tale must end.

Speaking of endings, Yield to the Night surely boasts one of cinema’s all-time great closing shots, as nearly everyone who watches this classic British film remarks on the that last abandoned cigarette, symbolically smouldering away through those final frames…with nobody coming back to claim it.

Yield to the Night is a hugely underrated exploration of those hidden human depths beneath both the dry court transcripts and the sensational press coverage surrounding any high profile case. Through dialogue and character development, it peels away the layers of half-truths to reveal a hugely flawed and almost childishly simplistic character doomed by circumstance, temperament and a wider societal demand for justice and retribution.

There is much food for thought in this unjustly forgotten film.

My Top 10 Live Bands – 1

Iron Maiden

Tremble with terror, ye unbelievers! No recording industry fortress can withstand the unstoppable musical force unleashed upon this mortal realm by the musical alchemists of Albion!

Iron Maiden are so much more than just an astonishing and amazing live spectacle. They’re a living, breathing, libertarian resistance that glories in taunting an entertainment elite that long ago decided such louts were just too uncouth, too incorrect and generally unworthy to tread the sanctified and hallowed halls of the mainstream media complex.

Cast out and denied the limelight that was rightly theirs, Iron Maiden set about raising an army of fans and building an entertainment war machine the likes of which this world has seldom seen.

They have succeeded, and they have swept all before them.

My personal relationship with Maiden began way back in 1986, when I first saw them play live at Hammersmith. For any readers who remember, this was the gig that featured a brief appearance by some hapless kid who was placed there courtesy of Jim’ll Fix It…ahem, moving swiftly on.

I’ve seen them four times in total, roughly once a decade, and on each occasion I’ve witnessed how this insatiable media monster has grown bigger, stronger and ever more ambitious with the passage of time. With musicianship, equipment and a stage spectacle second to none, Iron Maiden have first conquered and then colonised parts of this world where the corporate media machine often fears to tread.

Fronted by the coolest living Englishman, an Iron Maiden gig isn’t just a great concert, it’s a major event. The ground trembles as the beast approaches, accompanied by a roar of jet engines as a customised Boeing 747 named Ed Force One touches down. This is no magic carpet for a spoiled pop princess, but rather a fully liveried workhorse transporting band, crew and tons of equipment to every conceivable corner of the globe. Naturally, Bruce Dickinson himself is at the controls as Ed Force One continues its epic journey to spread the dark gospel.

Oddly enough, the sheer scale of an Iron Maiden gig means that it’s actually best viewed from a bit of a distance. The stage and lighting are of such epic proportions that it’s easy to miss the bigger picture from close up. Naturally, there’s no need to worry about not hearing if you’re further back, as Iron Maiden’s infamous four axe attack can be heard for miles around.

Now well into their fourth decade in the music business, Iron Maiden have managed to avoid the rock ‘n’ roll tiger traps which have turned far too many of their contemporaries into monosyllabic, shambling caricatures. They’re fit, able, independent and spoiling for the next conquest.

Any band that’s big enough to headline Glastonbury but turns it down is a band that deserves our undying respect and admiration. Iron Maiden exist in a parallel media universe which they’ve conjured into existence through sheer force of will (and maybe some dusty, arcane powers) making them the undisputed overlords of all they survey.

Go see the beast on the road, and pay homage to the world’s greatest living rock legends.

My Top 10 Live Bands – 7

Clan of Xymox

Sometimes life grants us a rare second chance; a chance to turn left instead of right, to say yes instead of no, or maybe to see a live band that we once thought had passed us by.

It was April 2008 when I stumbled across just such a rare chance to watch Clan of Xymox at the Whitby Goth Weekend. I’d never been able to catch them in my teens, twenties or even into my thirties, so I must confess I was a little nervous when the opportunity finally came around. If middle-age teaches us little else, we learn that some things belong strictly to our own history, and the tombs of the past are perhaps sealed for good reason.

Ronny Moorings, April 2008

Thus I remember feeling both excitement and trepidation in equal measure as the Clan finally took to the stage some three decades late. It was kind of an odd feeling to see Ronny Moorings face to face at long last, with Old Father Time having made the same alterations to his features as he had to mine; although with a lot less hair dye in my case.

In any event, the Clan’s performance was proof positive that experience always outlasts exuberance. It was a great gig! The sound was good, the atmosphere was terrific and the playlist was just a bursting box of musical chocolates, packed with old favourites and new flavours to tempt the palate. Naturally the most gratifying part for me was hearing such timeless Goth anthems as Back Door and Cry in the Wind performed live at such an iconic event.

My only regrets were the smoking ban and the present-day perjury of plastic glasses, which left the whole thing feeling perhaps a little too clean and sharp around the edges for my tastes. Nevertheless, the sheer unadulterated joy of such a hugely respected subculture band playing live made me glad I’d decided to break out my black eighties duster. The heavy cotton across my shoulders and the intimately familiar soundtrack filling the air soon dissolved those lost decades into the autumn darkness, leaving me at one with the music, the culture and all it once stood for. It was 1986 again, if only for a short while.

All that’s left is for me to say in closing is a big thank you to Ronny and the gang for unlocking the back door and turning a very personal page in my own social and musical journey. What was a routine gig for you guys was something of a milestone for me, and that’s an experience nobody can ever put a price on.

Images courtesy of Paul M Baxter at Baxter Photography

My Top 10 Live Bands – 8

The Cult

It was a cold November night in 1989 when I finally cornered the Cult. All in all it was a strange kind of courtship, filled with false starts and missed gigs, but we finally managed to meet up in (the now refurbished) Wembley Arena.

Naturally I was excited to catch up with the band who’d released the best rock album of the previous year. However, this gig was so much more than that, and it was as though I and the rest of the audience could feel the chill winds of change on that cold weekend. The shadows had lengthened in the empire of the eighties, and the destructive digital compressions of grunge and nu-metal were already buzzing through long-range receivers.

IanAstbury
Ian Astbury, November 1989

But on that night, those things had not yet come to pass, although I think that many of us felt some sense of a last chance of sorts as we gathered to celebrate great music before the landscape heaved and shifted forever.

I hardly need mention that the guys delivered in spades that night, so much so that I went back and bought a ticket from a tout for Sunday night’s performance. Yeah, I’m not proud of it, but that’s the truth. The real problem with doing that is the way that time and alcohol have kind of fused both performances together, melting them into a single, deliriously brilliant musical memory.

The standout moment on both nights was the epic kettledrum intro to Sun King, some percussion bothering I’ve never seen bettered. Hell, none of us even minded when they played Sweet Soul Sister twice for a live recording. I think maybe that ended up on a B-side or something; and if you ever listen to that version, then my voice is one of the thousands.

Here’s the really weird part though. Despite the fact that both nights were spectacularly good, one of my most abiding memories of those head-pounding and heart wrenching performances was the certainty of missing the last connection and being stranded on the London Tube’s semi-detached badlands. That’s how Nine While Nine by the Sisters of Mercy has woven itself into the mix of two hugely memorable Cult gigs.

Anyone who’s been there will know.

Ian Astbury image courtesy of Jon at cultcentral.com

A Jolly ‘Oliday with Auntie

As the sparkling madness of the festive season fades to January grey, many of us are already beginning to think of summer escapes to warmer climes as we gaze across the British new year’s bleak concrete vista.

Just like buying a car or perhaps even renting one, the ritual sun-pilgrimage bristles with fiendish legal and financial traps, forever eager to ensnare the unwary. Luckily the BBC is poised to help all of us paella-munching mortals with a brand-new series of Rip-Off Britain: Holidays. Naturally, this valuable public service necessitates not just one, but three highly paid presenters jetting off to Tenerife so they might capture the welcoming warmth of this desirable destination as a backdrop for each short segment introduction.

I’ve no doubt that the idea of a more modest, studio based consumer show was discussed in depth, but eventually abandoned. After all, creative integrity is the lifeblood of these selfless angels of the small screen, who work tirelessly to ensure we don’t squander our hard-earned during our flight from the factory and the call-centre for two warm and blessed weeks of the year.

It’s a shame that the Rip Off budget didn’t extend to flying, oh I don’t know, an actual, real life consumer expert out to the sun-drenched Canaries; but in the final equation, those short introductory monologues are so much more important than any expert’s sound, dependable, and hard-earned knowledge.

It’s good to know that the BBC has its priorities straight. By ring-fencing the frivolous jollies of overpaid presenters in these increasingly turbulent and uncertain times, the beeb reminds us of what’s really important…to the BBC.

Thanks, Auntie. Just how would we manage without your wise guidance?

Image courtesy of patrisyu at FreeDigitalPhotos.net

The Music of my Life 1980-1984

The eighties was a decade defined by contradictions. The neon dawn of a beckoning consumer age shone brightly against a dusty background of industrial decay. Newfound freedoms and lifestyles rubbed shoulders awkwardly with centuries-old social norms, often chafing against them. The gender benders shocked on Top of the Pops, while the bowler hatted city men were overrun by the hungry and street smart barrow boys who’d finally broken into the City’s sacred inner sanctum.
It was a time of both economic expansion and industrial contraction, which somehow managed to co-exist within the space of a single frantic decade.
With a little less wealth but a lot more personal freedom, it was a great time to be growing up, and I would never trade it for today’s paranoid, smoke free and calorie counting childhood.

1980 – Vienna by Ultravox

It seems to be an unwritten rule of the music world that one may like either the John Foxx or the Midge Ure incarnations of this band, but never both. That’s a rather short sighted outlook in my opinion, as this technically advanced offering from Midge and the boys is one of the finest examples of the post punk synth wave. While certainly more commercial than their first three albums, Vienna nonetheless displays a high degree of creative integrity. Indeed, I would argue that New Europeans is the single greatest new wave track ever. Never a band to chase the teen romance demographic, this album’s title track is emblematic of a bygone age when bold, innovative and unconventional music could still attain chart success.

1981 – Rage in Eden by Ultravox

That’s right, two in a row for this highly creative musical quartet, and in fact my single favourite album of all time. Too often overlooked by nostalgia channels and list shows, Rage in Eden is a triumph of dark-tinged electro pop that clearly doesn’t give a damn whether the “inkies” deem it worthy or not. Indeed, so cleverly constructed are the tracks and running order of this album that its lengthening shadows creep imperceptibly across the listener’s consciousness, while masquerading as a high quality synth-pop creation. With a brooding, concrete production style and lashings of dark, quasi monastic backing vocals, Rage in Eden is a neglected jewel of the eighties synth movement. Slide the CD into the player, sit back and experience the hidden depths and darkest corners of this most unlikely of masterpieces.
Indeed, time has vindicated this band’s creative approach as Ultravox are still touring in their own right, as opposed to being rolled up into some last hurrah of a fading revivalist roadshow. In hindsight, whilst their commercial triumph was much smaller than the Spandaus and the Durans of the day it has endured far, far longer. Perhaps there’s a lesson for us all in this story.

1982 – A Broken Frame by Depeche Mode

If Ultravox were dark synth with a poppy undertone, then Depeche Mode were their mirror image of poppy synth with a dark undertone. The early eighties marked a distinct societal as well as musical shift, where the groans of that wounded industrial world were processed, digitised and remade in the imagined likeness of the coming computer age. Many bands attempted to balance these opposing cultural currents, more often than not falling off the beam and into day-glo derision or respected obscurity. Somehow Depeche Mode managed to harness these two opposing forces to create something that is both easily accessible yet just a little off key. The video for the popular single See You is a brilliant example of that gravity-defying juggling act. Anyone old enough to remember those dark, frosty and atmospheric BR stations will immediately smell dust, diesel fumes and cigarette smoke in those wonderful opening frames. An album made by young men who were themselves shaped by the greater forces at work during those important years.

1983 – The Golden Section by John Foxx

The third of John Foxx’s post Ultravox projects is less well known than Metamatic or The Garden, and that’s a great shame. The master of the discordant dream and the fleeting shadow finds his strongest abstractionist voice in this glowing, warm and yet distantly chilling production. Perhaps finally trapping the phantom he’d been chasing for over a decade, The Golden Section is a triumph of musical arrangement that takes the listener on a journey to a quiet, melancholy place. This collection of beautifully crafted musical tracks brilliantly succeeds in triggering introspection and a longing for something once known but now forgotten, distilling ideas of shuttered shops and overgrown ruins into a vague longing for past freedoms. The greatest trick this album plays is that it achieves its ends by deception and subterfuge, forswearing any pretentious teen dirge in favour of a far more mature and nuanced musical expression. This album demonstrates an advanced and intuitive understanding of both music and the human condition, where discord somehow gives birth to beauty. An unrivalled triumph of the era.

1984 – Fugazi by Marillion

The second album by the last of the prog rock children is a veritable feast of musicianship and poetic prowess. Fish’s peerless lyrical agility finds a new confidence in this virtuoso display of song-writing and studio production. Steve Rothery shines as the most underrated guitarist of his generation, ably matched by Mark Kelly’s dazzling keyboard skills. Indeed, Steve’s soaring, weeping solo on Jigsaw is my personal favourite.
With major chart success still elusive, Fugazi makes little attempt to chase the then lucrative singles market, as the butchery of Assassing into a short seven inches makes all too plain. Who would buy a single like that?
It’s also worth noting that this is an album that arrived at exactly the right time for music fans like me, providing a vital escape route for those of us who’d spotted the scouts for the Stock, Aitken & Waterman invasion. It’s both an end and a new beginning as the musical mainstream begins its steady and seemingly irreversible decline.

Yes, the eighties are remembered with great fondness, but they also mark an irreparable fracturing of the music scene. By mid-decade the music charts had become increasingly homogenised and predictable, so there was only one thing for it. To misquote a very famous British singer, it’s time to go underground.

The Music of my Life 1975-1979

If the seventies are anything to go by, then the old adage of tough times producing great art certainly holds true. Like the social and political realm around it, the music world was in a state of decay and rebirth all at the same time during this period. The end result is some of the best and most imaginative work ever to grace a recording studio.
It was tough making the choices, but here are my five favourites from the latter half of that landmark musical decade.

1975 – Wish You Were Here by Pink Floyd

If I could only take one Pink Floyd album to my desert island it would be this one. The word “masterpiece” is bandied about far too often in the age of the internet, but it is surely the most succinct description of this seminal work by the grand masters of prog rock. Concept, musicianship and production all combine to produce a listening experience which is as fresh and relevant four decades on as it was on the day of release. Boasting the title track, Welcome to the Machine and Shine on you Crazy Diamond to name just three all-time greats, Wish You Were Here is almost too good to be true. The greatest album of all time? I’m not certain of that, but it’s surely got to be in the running.If you don’t yet own this dazzling offering from a musical golden age then you should renounce mp3, obtain a high quality copy and prepare for a horizon-widening audio experience.

1976 – Boston by Boston

The debut album from the ridiculously talented Tom Scholz and the guys from Massachusetts is a true masterclass in the art of music production. Seemingly resistant to the passage of time, More Than a Feeling still a firm radio favourite more than forty years after it first hit the airwaves. Never a band to just release music for the sake of it, Boston have earned their reputation as the supreme exponents of hard yet also melodic rock.Even though many of their tracks reflect the same problems that both the punks and suburbia were grappling with at the time, Boston always managed to shoehorn them into a remarkably upbeat rock parcel. With a unique blend of beautifully clipped guitar work and multi-channel vocal harmonies, it’s always summer when Boston’s in the background. Just immerse yourself in the first two tracks on this album and you’ll soon realise you’re in the presence of musical greatness.

1977 – No More Heroes by The Stranglers

It’s 1977, and so that means the punk explosion has laid waste to the cultural landscape. The explosive detonation of the Sex Pistols often eclipses some of the equally worthy and arguably more insightful creations of that long overdue, snarling counter-culture.
With a wreath adorning the cover and an increasingly fraught economic story dominating the world outside, No More Heroes intuitively encapsulates the death of the post war industrial consensus. Working hard and doing the right thing is no longer a recipe for success, and is becoming increasingly derided as a fool’s errand and a cynical method of social control.
The gleaming high-rise renewal has all too quickly become a grey, dripping, concrete dystopia; turning against the very masses who were promised that bright new tomorrow so long as they sacrificed the sweat to build it. This album is a brilliantly unfiltered scream from a generation instinctively sensing that everything is rotten, but not really knowing what to do after it’s all been torn down.

1978 – Systems of Romance by Ultravox

If there was a hall of fame for the most underrated yet influential albums of all time, then this would surely be hung in the foyer for all to see. Ultravox’s third and last album with the legendary John Foxx is a dusty and often overlooked glory of the post-punk synth movement. While The Stranglers echo through the guitar riffs of The Quiet Men and When You Walk Through Me, something altogether new and wonderful is stirring within the half remembered dreams of Dislocation and the analogue airwave chatter of Slow Motion. The haunting final track, Just for a Moment is my single favourite song of all time.
Indeed, the legendary Gary Numan has paid homage to this musical masterpiece as both an influence and an inspiration in more than one interview over the years.

1979 – The Wall by Pink Floyd

It feels eminently fitting that the seventies should bow out with one of the giants of that decade. The Wall is more than just a great album, it’s a brilliant and timely examination of power, control and cyclical interdependency. Nearly four decades of history have added yet further layers of contradiction and complexity as Roger Waters et al have themselves been absorbed into the Establishment they once railed against. Indeed, it has been argued that the process was well under way by the time The Wall first appeared. With imagery by Fleet Street fixture Gerald Scarfe and a bunch of boys from Cambridge singing about not needing no education, some charges of intellectual dishonesty have been levelled at Floyd for this conceptual creation.However, it could also be argued that the mere existence of such discussion vindicates The Wall’s creation, by bringing the ever-changing and malleable nature of power dynamics into sharp, somewhat dated, and yet somehow timeless focus.

Fading out with the Winter of Discontent and the election of Britain’s first female Prime Minister, the seventies was a decade of upheaval and contradiction. Above all, it was a decade troubled by an overbearing yet unfocused sense that something was deeply and fundamentally wrong with society. Somehow the orderly, expert-driven concrete dream had gone terribly, awfully awry. This underlying sense of unease helped to usher in an unprecedented era of musical invention and creativity, and this rich cultural legacy is still being discovered, enjoyed and re-visited by each new generation of musicians and listeners alike.