From an amazing period in music, just after the death knell of punk sounded.
So amazing that it is being copied left, right and centre in recent years by useless wanna-be bands!
Here is a great selection from innovative and influential groups such as The Wire, Gang of Four,Talking Heads,Throbbing Gristle and The Slits!
The wonderful Wire with probably their greatest moment. Ask Elastica .. they ripped them off entirely!
This LP leans toward the punk end of the post punk spectrum.
Gang of Four-Entertainment!
Funk without the funk. Classic post-punk sound, delivery, production and aesthetic.
Talking Heads-The Name of This Band is Talking Heads
Yes, the Heads did once make great music!
Orange Juice-You Can’t Hide Your Love Forever
Scottish post-punk popsters supreme! Fun, poppy and a direct forebear of some sounds that would emerge from Britain in the following couple decades.
Throbbing Gristle-20 Jazz Funk Greats
The birth of industrial!
There seems to have been a giant leggy chick in the band!
These mad bitches made great music! Post punk boobies too! What more could you ask for?
They sure could teach that cnut Courtney Love a thing or two!
Interesting piece on the great Mr. Earle!
Not only a great songwriter but now a bit of a polymath too! Check him out in the greatest TV show of all time, The Wire!
Lots more Earle here; www.steveearle.com
Earle an articulate, modern-day agitator
By DAVE TIANEN
Posted: July 21, 2008
Take the articulate anger of Greenwich Village Dylan, the roughhewn populism of Bruce Springsteen and the renegade heart of Waylon Jennings and you have a good start on Steve Earle.
But as he demonstrated again Sunday night at the Pabst Theater, there is another crucial element to Earle. He may be a contemporary alt-country icon, but in many ways he is a throwback to the 1940s, an old-fashioned agitator with a guitar in the mode of Woody Guthrie and Pete Seeger.
That was an easy point to make Sunday night; in fact, Earle made it himself, twice — once at the very beginning with “Christmas in Washington,” a musical summons to bring back Woody’s ghost, and then near the end with “Steve’s Hammer.” The latter is a kind of answer song to Seeger’s “If I Had a Hammer,” with Earle looking to the day when war and injustice have been put to ground and he can lay his hammer down and rest easy.
As for “Steve’s Hammer,” I don’t believe a word of it. It’s not that he doesn’t care deeply and passionately about his issues. As he usually does, Earle made his case against capital punishment in word and song through “Billy Austin.” His love letter to New York City, “City of Immigrants,” was an argument for the enrichment of cultural diversity. Earle will always hit a lick against injustice and war and for the underdog. He’s earned that respect.
But there’s something more to it. It’s not just the issues. There’s a level on which Earle just likes to mess with authority. This is a guy who’s seen the inside of a lot more prisons than Johnny Cash did, and he doesn’t have a nip of Cash’s piety. Earle is part outlaw and all outsider, and that’s what makes his renegade sagas like “The Devil’s Right Hand,” “Copperhead Road” and “Tom Ames’ Prayer” so convincing. All three of those songs are stellar; “Tom Ames’ Prayer” — about a career bandit who, cornered in an alley with three rounds left and cops all around, looks to God for a moment, then changes his mind, spits in the dirt and walks out to face the guns.
And there is a tender side to this shaggy-bear poet. Earle is on wife No. 7 — singer Alison Moorer, an exquisite talent — and she seems to have reformed Earle in some needed ways. He’s never going to be GQ material but Earle has slimmed down a bit, and no longer looks quite so much like a brown bear locked on a diet of Fritos and Budweiser. Artistically, Earle has repaid that debt with the musical tribute to her radiance, “Sparkle and Shine.”
Sunday night, Earle brought Moorer out near the end of the show for a lovers’ duet on “Days Aren’t Long Enough.” As unlikely as it seems, they have a certain troll-and-princess magic together. As she was leaving the stage, some guy in the audience shouted to Steve, “How’d you get so lucky?”