Tag Archives: Garry Bushell

I Love I Jah

Bad Brains single reviewed in Sounds, 3 July, 1982 by Garry Bushell

The Bad Brains: ‘I Love I Jah’ (Alternative Tentacles)
How did they do it? I mean, can you imagine this contrary lot who get through more grass per day than Kew Gardens, and who change direction more times than a traffic cop, staying the Bad Brains long enough to actually record something?
I could easily picture them turning up at a gig as a hardcore punk band, playing a matinee as Brains That Ferret (New Romantiques, proprietor J. MacDonald) headlining as Billy and the Brains (Rockabillies, PR Waxy Maxie) and finally seeing the audience off as Pookiebrainieburger (skiffle kids, signed to Stiff).
Pardon the disbelief, chief, but I never thought a band like the Brains who are up and down more often than a whore’s drawers, would ever make it into a studio again. And I was right. These aren’t new tracks, they’re four highlights from that original ROIR cassette – but if you’re into US punk and you’ve never heard the Brains, hear side two of this for instant addiction.
Side two sounds and feels like an atomic bomb. The three tracks herein are staggering pogo-stampedes from the ultimate thrash city rockers that sound something like the Damned on dexedrine, only faster. Instruments have never been played at such velocity before, and HR must wear his lips out keeping up.
Side one features the Brain’s mellow Dr Jekyll side, competent enough reggae but nowhere near as staggering in its field as the Mr Hyde side.

I’m In Love With Margaret Thatcher

Top drawer punk single by the Notsensibles reviewed in Sounds, 10 November, 1979, by Giovanni Dadomo.

The Notsensibles: ‘I’m In Love With Margaret Thatcher (Redball)

Very silly record of which Mr. Peel is very fond. A bit over-daffy for continual enjoyment on my part, but who am I to argue with such keen tastemakers as Peely and young Bushell. The latter’s commemorated on one of two lunatic flights the flip by the way. Buy this for ‘Gary Bushell’s Band Of The Week’ GB fans.

X Offender

A young Bobby Gillespie in the Sounds letter page, 17 February, 1979.

X Offender

I’ve just read Dave McCullough’s rather savage review of the new Generation X album. OK – he doesn’t like it, but must he be so poisonous? I’ve heard the album on John Peel’s show and I think it’s quite good. I’m a fan of Generation X and that’s who the album is aimed at, if the fans like it then that’s good enough for Gen X.
But when someone like McCullough butchers them in Sounds then some idiots will take his review as gospel and won’t give the album a chance. At least Generation X can produce records of a high standard and McCullough is probably just jealous of the fact that Billy Idol and co. are making records etc and he (McCullough) is just a poxy little journalist who nobody cares about and will probably be given the boot in a few years and no-one will remember him.
I hope that the album is a big success and McCullough will have to eat his words. He slags Gen X about the quality of their songwriting, but could he do better? He says that the thought of Generation X taking themselves seriously is just too much – but I, for one, can’t take McCullough seriously – he’s a joke. – Bobby Gillespie, Mount Florida, Glasgow
PS Bushell is magic. Anyone who likes the Clash, Sham, Skids, Members etc. must be magic.

The Violators

The rather good Derbyshire punk band reviewed in Sounds, 10 April, 1982, by Garry Bushell.

The Violators
‘Gangland’ (No Future)

Yer average Joe Pogo might vote this a no-no cos manic thrasherama it ain’t, mate. It’s hard, sinister and driving. If anything like cantering street -level Joy Division. Oi Division? Call it what you like all I know is it’s got real muscle and real power, a savagely stomping and stifling stroll through the teenage gangland wasteland. A Warriors requiem, a modern day drama delivered with coarse compact force. The sort of menace music Alex and the Droogs would make if they got locked in a studio all night.
I admire the Violators for this cos they could have so easily exploited Helen’s good looks via some bouncy pop work-out. But instead of playing Smash Hits Banshees they’ve majored on the darker side of the streets with Cass in the vocal saddle singing darkly instead of hoarse-hollering.
“They wanna be anti-heroes” go the fade out chants. The Violators are mine already.

Kick Back

After an earlier Skins Against Nazis feature there’s kick back in the letters page of Sounds, 30 September, 1978. Eddy Morrison was a well know Leeds fascist and punk fan.

I read with both interest and amusement the full page blurb you did on ‘The Skins against the Nazis’. Obviously this new organisation with its hundreds of thousands of followers deserves a full precious page of your equally precious news print. It is a pity you could not have used four pages or even six pages, or perhaps a whole issue on the subject of ‘Skins against the Nazis’. It is obviously the most important development of the 20th Century, nay, since civilization first dawned.
I was glad to see that some skins are not going to be used anymore by the evil National Front and that they have been saved from this by the SWP, who will of course, not use them either!
Next week I suggest a lead article on ‘Men with Bushy Beards against the Nazis’. It is all great fun isn’t it? Since everybody is against the Nazis who are the Nazis?

E. Morrison, 36 Richardson Road, Leeds 9

The Real McOi!

The Eyes of a Foot Soldier

“Little ghetto boy, playing in the ghetto street, watcha gonna do when you grow up and have to face responsibility?” Little Ghetto Boy, Donny Hathaway

The following piece is a brief journey through an appreciation of punk and Oi! music as a fledging teenager to becoming obsessed with unblemished soul music as an adult. I can place a connection between the musical genres through honesty, integrity and rawness. The genres are both real street music that comes from the heart.

‘Oi! the Album’ was released in 1980 and led the way for a musical force that had been brewing away since the breakthrough in the U.K. of punk rock in ‘77. Sounds scribe Garry Bushell had been the flagbearer of the proto Oi! bands that led to him compiling the album. In ‘79 there was no bigger active punk band in the UK than Sham 69, The Ruts had just broken through, the Upstarts credentials were rising and the Rejects had shook the punk foundations with ‘Flares and Slipper.’ The substratum for Oi! had strong roots for new bands to take inspiration from to forge their own directions. These second wave of punk bands took a more direct rawer route from the streets than many of the art infused ones of the first wave.

I never swayed too far from punk between the years of ‘79-83 but Oi! music for me in 1980 meant unity, honesty, identity and the voice of my generation. It was also to me the spirit of the Carry On films, Henry Cooper, Minder, The Harder They Come, maverick footballers, the Beano, Irn Bru, On the Buses, Lager Tops, Slade, Budgie, jumpers for goalposts, Bronco Bullfrog, Tiswas, Fish Suppers, Roy of the Rovers, The Clash, Choppers, Dick Emery, Desmond Dekker and Kes. It represented me and my life!

When ‘Oi! the album’ was released I’d just broken through into my teenage years and had been hanging on every word written by Garry since making a decision to buy Sounds over the Enemy in 1979. At that time my family had recently relocated from England to one of the five Scottish new towns called Livingston. We moved there in the summer of ‘78 from a tight knit Nottinghamshire mining community where punk was of minor significance compared to Livi, which had a thriving punk scene. I found punk to be exhilarating, inspirational and soon became an avid follower of all things punk.

Making that decision to buy Sounds early in ‘79 was easy for me because they championed punk bands, both old and new. Forty three years later I’m still searching to hear new sounds, but with a much broader musical taste than I had back then. I produced a fanzine in the summer of 1981 called Oi! Division. I was aged 13 and was influenced by a variety of fanzines of the time that included Rising Free, Ready To Ruck and No Solutions. Growing up in Livingston was hard during those years because all new towns are built on three stages; building houses, attracting a population and then job creation. We moved there between stages 1 and 2. We all had to find our own entertainment and producing a fanzine was my escapism of boredom.

I had a bit of help through Garry and Lol Pryor supplying me with bands contact details. I’d then make telephone calls to the bands to either interview them over the phone or we would agree that a questionnaire would be sent. I included interviews with the 4 Skins, Blitz, The Partisans and local band On Parole in the first issue, which struggled from a poor print. Garry included a small piece on it in Sounds, which included payment details. I then started to get a healthy amount of postal orders and hard coinage via my local postman from across the UK, Europe and the USA. My postman once asked my dad what was in the sacks of letters that he was delivering. I also sold a fair few locally, mainly to friends at school.

The first ever interview that I did out in the fields was with the lead singer of a local punk band called On Parole. I interviewed Liam in Rabs Bar, Deans, Livingston. That was also the first time that I got drunk and also led to me getting involved in the band on a managerial basis for the next two years. At that point I was 6ft and had begun to outgrow schooling. I was looking for a different education and my attendance in my final two years was sporadic. I had a lot of fun over these years, but on the whole that’s a different story.

I thought with the second issue of the fanzine that I wanted to widen the horizon a bit to cover a broader selection of punk bands, so I changed the name to ‘A Way of Life.’ I decided to use drawings rather than images that I’d acquired from Sounds, like I had done with ‘Oi! Division.’ The overall print was much better because of this. The first two fanzines were printed A4 folded and saddle stitched. I included interviews with The Business, Infa Riot, The Last Resort, GBH and Peter & the Test Tube Babies.

The second issue of ‘A Way of Life’ and third fanzine was printed as an A3 folded and saddle stitched affair. I upped the ante with this one and used a local offset printer, which meant that I could use photos with the interviews. Overall it’s probably the most professional publication out of the four fanzines I produced. I included interviews with Theatre of Hate, The Outcasts, Blitz, Discharge, Chron Gen, Vice Squad, Conflict and more.

The final fanzine was printed in the first half of 1983. I’ll say that things were changing musically and I wanted to further widen the coverage with the inclusion of Twisted Sister, Big Country and Laurel & Hardy alongside The Business, The Exploited and On Parole. I used the name of ‘Streets Where We Live.’ At that point the family had been uprooted to Edinburgh, because I was getting into too much trouble. Punk and Oi! had been my survival mechanism in Livi, but in Edinburgh the street sounds had a different vibe. Things were evolving rapidly with many bands breaking up or heading into a new musical path. Blitz rocked Oi! music with the electronic vibe of ‘Second Empire Justice,’ Red Alert dipped their feet away with ‘Tranquillity’ and the Upstarts came out with ‘Still From The Heart.’ The 4 Skins with Roi folded their cards after a 3 date tour in spring of ’83, The Business split and Infa Riot jacked it in after a fabled short span as The Infas.

I spent six months living in Auld Reekie but decided in the summer of ‘83, aged sixteen that I would move back to England to live in Manchester. I spent a year living in Burnage, a long time before the Gallagher’s brought it to the attention of the world. I moved in with my eldest sister and this saw the biggest swing in my musical taste. I signed on for the year and got to see the Upstarts as many times as my giro would allow me, but my musical taste was further evolving. I remember being round a friend’s house called Doyle and reaching for his copy of ‘Bad Man,’ and he snatched it back saying that he hadn’t played that for two years.

The music of the streets in Manchester was heavily focussed on the emerging electro sounds mixed in with a strong soulful vibe. It was a slow evolution, but I started appreciating Grandmaster Flash & the Furious Five, Whodini, Afrika Bambaataa, Newcleus, Shannon and D Train. I also saw the Redskins for the first time and they blew my mind with their soulful sounds. They were the gateway for me to start appreciating The Four Tops, The Temptations, Jackie Wilson and soul music. I eventually dug deeper with soul music, whilst favouring the little label singers that never got a break they craved for.

My argument is that I can place a connection between Oi! music and soul music. Singers like Roi Pearce, Mickey Fitz and Roddy Moreno sang every note like they meant it with great gusto and passion. Obviously tonally and the melodies are very much poleaxes apart from singers such as Otis

Clay, James Carr and Lee Moses, but the bond is tight with the working class roots. I’ll take any independent singer who gives their all over any major label puppet that has little or no substance. It’s always been the same for me right back to when I first got into music. I’d rather champion the underdog rising through adversity than a heavily backed major label dud! The rare soul scenes of northern and modern soul are comparable with the working class roots of Oi! music with both music and also fashion.

I never walked away from Oi! music, because I’ve kept my eyes on how the scene developed. The widening of the arena globally is something that Garry and Lol should be proud of. The fact that bands like Rancid, Agnostic Front and the Dropkick Murphys salute Oi! music, whilst touring globally to large audiences is a good thing. The fact that The Business, The Last Resort and Cock Sparrer are appreciated across the world is an amazing achievement through some difficult times. That’s not forgetting the newer bands that provide a different magic to the original punk and Oi! sound with Hard Wax, Lion’s Law, Crown Court, Slalom D, Himnos, All Out Attack, Bishops Green and many more because the list is endless. I’m finding myself listening to more punk and Oi! band’s these days because of the last couple of years events. The working class really need a voice after a systematic attack of suppression. There’s life in the old dog yet!

“In unity there’s each other and your friend becomes your brother and in the tyrant’s heart will be a lesson learned” Solidarity – Angelic Upstarts


Sideboard Song

Chas and Dave in Sounds, 18 August, 1979, by Robbi Millar.

Chas And Dave: ‘The Sideboard Song’ (Rockney).
If mod is fashionable, then so are cockneys. ‘Specially this pair. Subtitled ‘Got My Beer In The Sideboard Here’, this offering is inoffensive and typical. It’ll have all the Garry Bushells of this country rolling their eyes and swigging their Hemeling in order to be in the appropriate state to listen to it. Gertcha!

Crew’s Missile

Letter about casuals in Sounds, 26 May, 1984 from Anti Social Workers singer, Paul Wellings.

Crew’s Missile

I have nothing against the “soccer casual” music and clothes movement. In fact most of my mates wear the gear when we go to see West Ham and it has style. But I really must have a go at the “under five mentality” from the younger elements of the once glorious ICF, and other well organised crews like Pompey Glory Boys, Scouse Scallies etc.
Cos these kids dress to kill (sometimes literally) in all the Tacchini, Fila, Burberry and Head gear, they seem to think the movement means giving our own kind a good kicking or sticking Uncle Stanley in some ordinary geezer’s kidneys.
I remember all the times I’ve followed West Ham (way back to the original ICF, Rejects, drinking, having a crack etc), and Spurs and Luton Town and have gone with people to actually watch the game. And I follow these three teams (even though I was born in Wapping, East London and should by rights murder anyone who doesn’t support West Ham), cos I love their style of football, cos I’ve moved to different areas and cos most of all I hate the mindless tribal, territorial warfare similar to the Krays vs the Richardsons.
At least when the old bill get hospitalised, it’s a welcome change from attacking the other teams’ fans. Some, like the ICF, have the style and organisation to ruck without getting nicked (but most of it is brainless tribal war) and others have more suss to know the filth are the real enemy.
It’s a pity anger was not saved for the rich scumbags in the directors’ boxes treating football like a monopoly game for real, or the nazi wankers bringing racist shit into our grounds (it would be great to organise leafletting on same scale as we did at Upton Park, White Hart Lane etc in the ANL days – where we got a terrific response). I’m very much a lumpen prole.
It’s better to attack these sort of people and enjoy our game again than thrashing some working class geezer like me or you, who lives down the road or up North, cos their team is different.
Soccer casuals, if it means anything, means pride in your background, going to the football with your girl, laughs, self-respect, style, soul, lover’s rock, funk etc. Like Mod and Tamla, Skins and Trojan reggae, Punks and the Pistols, Casual both music and clothes, as Garry Bushell said, comes from the streets and not the industries, and for those into it, it hasn’t meant reconsidering your mortgage to buy the gear – cos the black market is booming. (Ask Scotland Yard! Look sharp, think sharp!) – Paul (Geezer) of reggae rockers the Anti Social Workers, Wapping.

Da Da Da

One of pops best reviewed in Sounds, 3 July, 1982.

European Champions

TRIO: ‘Da Da Da’ (Mobile Suit Corporation)
Men, it can be done!
Futurism can be fun! And this weird but wonderful German three-piece prove it by being dry all the way to the bank.
“Aha, aha, aha,” mocks shaven-headed singer Steve, introducing the robotic drum beat and the familiarly intoned nonsense words (maybe he thought he was Lou Reed for a day) that lead up to the perfect pop chorus of the title wed to a Sixties-catch casio phrase.
It’s as minimal as Soft Cell’s ‘Sex Dwarf’, but it’s infuriatingly addictive, guaranteed to bring a grin to the lips, a tap to the toes, and a shower of ageing umma louts all the way into your hearts.
Even money says it’s Top Three, and that’s even without the nicely bloodthirsty video that makes this a perfectly stylish pop marriage (they could even afford a Claridge).

Garry Bushell