punk.cat: BUZZCOCKS

Monday, 5 January 2015

BUZZCOCKS

"another music in
a different kitchen"
Year: 1978
Label: United Artists
Format: CD, LP
Tracks: 11
Time: 34 min.
Genre: rock
Style: Punk Rock

After its succesful EP´s "Orgasm addict" and "Spiral scratch" the british punk rock band BUZZCOCKS recorded its debut album under the protection of the major "United Artists". Despite the EP and the CD are totally punk, it remind a bit musical styles such as: mod, pop and 60's musical touches and, in fact, the band has never hidden his attraction for bands like The Who, The Kinks, Small Faces or even The Beatles. BUZZCOCKS were and are one of those bans like both punks and mods. There are many different releases of this album, mine is on digipack format, released by EMI and next include four tracks of its 1976 EP "Orgasm addict". A true gemm... simply Essential.

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"love bites"
Year: 1978
Label: United Artists
Format: CD, LP
Tracks: 11
Time: 34 min.
Genre: rock
Style: Pop Punk

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"A different kind of tension"
Year: 1979
Label: United Artists
Format: CD , LP
Tracks: 12
Time: 36 min.
Genre: rock
Style: Punk Rock

After the iregular success with its second album "Love bites", which sounded closer to mod, pop or 60s music, BUZZCOCKS decided to make again pure, simple, direct and easy punk rock like its debut "Another music in a different kitchen" and the true is the result was more than satisfactory. We are in front of a very good album with some anthems such as: "Sitting Round At Home" (covered in 1988 by hardcore band Gorilla Biscuits) or "You Know You Can't Help It".

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"trade test transmissions"
Year: 1993
Label: Castle Music
Format: CD, LP
Tracks: 17
Time: 53 min..
Genre: rock
Style: Pop Punk

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"all set"
Year: 1996
Label: Universal
Format: CD, LP
Tracks: 13
Time: 40 min.
Genre: rock
Style: Punk Rock

Hooking up with Neill King as producer for All Set was an amusing turn on the part of the Buzzcocks, given that King had engineered Dookie, the breakthrough album from open Buzzcocks worshippers Green Day. Apparently the group felt a little acknowledgement back was in order, even going so far as to record the album in that trio's stomping ground, Berkeley, CA. Far from trying to capture the MTV audience with a variation on "Basket Case," though, the quartet here sounds like -- the Buzzcocks, if again essentially the pop-friendlier side of the band. Opening song "Totally From the Heart" is actually one of the strongest numbers yet from the newer version of the band, with a great chorus and all-around soaring crunch. King definitely earns his pay with his producing and engineering work; things haven't sounded this crisp and clear for the band even since the late '70s. The Barber/Barker rhythm section has by now well settled in, with Barker in particular showing more individual flashes and flair than before. Shelley and Diggle throw in a couple of almost mainstream guitar solos along the way, but otherwise are as dedicated as always to the virtues of high-volume, brisk poppiness. Happily, hints of trying to breathe once again beyond the basic formula do crop up here and there. Hammond organ adds a nice extra touch here and there, as on the lower-key groove of "Hold Me Close," one of Shelley's tenderer love songs, while Diggle pulls off a rock-of-the-gods epic start for "Playing for Time." The concluding two numbers both have something to them in particular -- "Pariah" has a quirky rhythm crunch to it à la "Sixteen," while Diggle's "Back With You" starts off with an acoustic guitar and turns into a string-synth-swept declaration of love. Otherwise, it's generally effective business as usual (*Review by Ned Raggett ).

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"modern"
Year: 1999
Label: Universal
Format: CD, LP
Tracks: 14
Time: 32 min.
Genre: rock
Style: Pop Punk

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"Idem"
Year: 2003
Label: Cherry Red
Format: CD, LP
Tracks: 12
Time: 32 min.
Genre: rock
Style: Punk Rock

I still listen to this record with disbelief. While the Buzzcocks have released several new studio albums since their reformation in 1989, none of them managed to stand up to the sheer brilliance of the material collected on `79s "Singles Going Steady." By all conventional logic, the Buzzcocks were supposed to live out their years as a live act that plays old favourites to nostalgic, if not increasingly disinterested crowds. They weren't supposed unassumingly enter the studio and produce anything as exciting as their early singles. They sure as hell were not supposed to actually grow and progress on it. "Buzzcocks" is an incredibly solid record. I'll agree with other reviews I've read and say this album is self-titled to signify a band reborn. It's absolutely unprecedented for any group to release something 27 years after their debut that actually displays a progression in song writing and style. Once again it seems that Pete Shelley and Steve Diggle are on fire.

This year's model Buzzcocks lacks some of the jangle and spastic nervousness of the band that wrote "Orgasm Addict," but filling that void is a charging, full sound and a very fitting density. The lead single "Jerk" brings back Shelley's laments on damaged relationships, recast in more adult terms that carry surprising weight. One of the charms of "Buzzcocks" is that it brings back that sorely missed British punk snarl, especially on tracks like "Lester Sands" or "Useless." To it's infinite benefit this sound is made all more believable by very mature lyricism and musicianship that never once shows the band trying to relieve their youth. Age is a funny thing with this record, as an act whose main songwriters must be pushing 50 rocks harder than bands half their age.

Of particular note is the collaboration with founding band member Howard Devoto, who shares a co-writing credit with Shelley on "Stars" and "Lester Sands." The former being one of the albums most vicious tracks that matches up a huge guitar sound with incredibly clever lyricism. Diggle's melodic "Sick City Sometimes" is a (relatively) more sombre track that provides a perfect counterpoint to the album's more scathing attacks. "Keep On" has one of the most catchy and well-executed chorus' in recent memory. "Friends" does the same with verses that will be stuck in your head for weeks.

Quite simply, this is one of the best records of 2003. Any flaws seem transparent to me, especially when compared to the brilliance that shines through on so many of the songs. "Buzzcocks" is easily the most accomplished recording the band has made since "Singles Going Steady" more than 20 years ago. (*Review by Adam White )

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