#vic godard & subway sect

[theunderestimator-2]

The Subway Sect Mark II shattered after performing their Club Left 'Songs For Sale' set in Paris in 1981 as captured by Sarah Partridge (photo no.1).

So what did punks do after the early days of filth and fury? By ’78, the early UK punk scene was already fracturing: after the Pistols crashed & burned, a fraternity of post punk musicians attempted to break from punk clichés and experiment with non-rock styles, Crass declared that punk was dead, as did Pete Shelley with Buzzcocks entering their pop punk formative phase while street punk and Oi! Bands attempted to redefine punk.

Vic Godard was there right from the very start, since his Subway Sect were among the performers at the legendary 100 Club ’76 Punk Festival sharing the bill with Siouxsie & the Banshees, The Clash and the Sex Pistols.

theguardian.com/ : “Vic, in league with Bernie Rhodes, was thinking of an even more shocking revolt against conventional taste: cocktail jazz. Rhodes persuaded Godard to ditch the original Sect and hired a fresh group of musicians with a little more swing than the original band. One of the first public expressions of this was Club Left, a regular night that ran at the Whisky a Go Go in Soho as the ‘80s began. The idea was to annoy everyone. But this sonic handbrake turn went on to point a lot of music – and a lot of punks – in a very different direction.”

The Clash’s manager Bernard Rhodes recruited keyboardist Dave Collard (photo no.2 by Coneyl Jay), bassist Chris Bostock (photo no.3 by Ian Usher), guitarist Rob Marche (photo no.4) and drummer Sean McLusky (photo no.5), key members of various Bristol groups, who along with Vic Godard formed a new incarnation of Subway Sect with a completely different sound influenced by ’40s-style crooner music mixed with jazz, soul, rockabilly and skiffle, which was referred to as ‘Cool Bop and Swing’. These cool cats, a London ‘Rat Pack’ with Johnny Britton as the regular Club Left DJ, even toured extensively and their refined set became the “Songs for Sale” album.

“I remember looking down from the club’s floor-to-ceiling window one night just before opening, and seeing a queue stretching round the corner into Shaftesbury Avenue. We attracted an amazingly eclectic crowd, and you never knew who would turn up together with our hard-core regulars…”. Rob Marche “Club Left hosted a weekly array of great performers. If it had an ethos, it was a simple nod to the Beatnik past of Soho and Paris of the 60's”. Sean McLusky

The far-retro Club Left project reintroduced various people to easy listening. Artists such as Sade or the group of young women, who had supplied occasional backing vocals for the likes of Shane McGowan’s first band, the Nipple Erectors, and went on to become Bananarama. When Vic Godard got married and took a break from music in ’82, the rest of the band with the addition of Dig Wayne became the JoBoxers, fusing elements of northern soul, rockabilly, NY disco and funk.

(via, via, via, via)

[joanofarc]

exit, no return, vic godard & subway sect (1980).

[singles-bar]

[spilladabalia]

Subway Sect - Nobody's Scared

[kdo-three]

Vic Godard & Subway Sect – Head Held High (1978) Lou Reed from: "What's The Matter Boy?" (2000 CD Reissue Bonus Track) (Remastered | Restored | Expanded)

Punk | UK Punk

Velvet Underground Cover

JukeHostUK (left click = play) (320kbps)

Personnel: Vic Godard: Lead Vocals / Guitar Johnny Britten: Guitar / Backing Vocals Spartan Atkinson: Keyboards/ Backing Vocals Colin Scott: Bass/ Backing Vocals Bob Ward: Drums/ Backing Vocals

Recorded: @ The BBC Studios in London, England UK on December 4, 1978 Recorded for The John Peel Sessions

CD Released: 2000 (Remastered Restored Expanded) Universal Records

[savage-kult-of-gorthaur]

"MAY 1976 AND MOST OF US HAD GIVEN UP ON POP MUSIC..."

PIC(S) INFO: Spotlight on handbills advertising the SEX PISTOLS May, 1976 Tuesday night residency at London’s legendary 100 Club.

Resolution at 1058x1500 & 1411x1989.

BONUS: The poster, designed by Helen Wellington-Lloyd (aka Helen of Troy, who originated the first SEX PISTOLS “blackmail” typography for flyers and gig posters) features Ray Stevenson’s photograph of Johnny Rotten performing at the 100 Club in March of the same year.

OVERVIEW: "May 1976 and most of us have given up on pop music.

The seventies had been great. Glam rock for us teens had ruled the roost but even that had seemed to have disappeared. This was the first time that pop culture had seemed retro and to be going backwards.

The charts had been full of Beatles singles- rereleased in snazzy new picture sleeves and even if they were great it felt like the past was already catching up with us. Pop was stating to eat itself.

Every generation needs its own soundtrack. Still does.

The sixties could have been Victorian times for a 15 year old in 1976 and we were wondering what our soundtrack was. Even gangling, goofy nerds like us needed some music of our own.

That Tuesday night the Sex Pistols started their 4 week residency at the legendary 100 Club. Booked to appear by promoter Ron Watts who had already had the band play at High Wycombe the band now six months into their ‘career’ were already the fully finished article

The late Nils Stevenson was by now working with the band and had already seen them play a few months before.

‘One day Malcolm suggested I come and see the band he was managing, the Sex Pistols. I went down with him, Vivienne, Chrissie Hynde and Jordan, in Viv’s puke-green Mini. I was hooked. They reminded me of Iggy and the Stooges. There were no more than 100 people there. They were all there for Eddie and the Hot Rods bar the Sex shop crew: five of us and Steve Severin and whoever he was with. All together, ten people to see the Pistols. I saw them play once, and by the next gig I was working for them. I closed down my stall on the Kings Road, and the following week we were working from Malcolm and Vivienne’s flat designing posters, until he had a ruck with Vivienne and moved in with Helen Wellington-Lloyd who became our secretary/co-designer. It all happened really fast.""

-- JOHN ROBB'S "Punk Rock: An Oral History" (2012) book

"When we first saw them there was no one there at all, about 30 to 40 people. That was for the main band, Eddie and the Hot Rods. The Pistols were the support band. We went by while the PA was getting smashed up, that was what drew us in. We were in the West End looking for gigs to go to. We walked up Wardour Street and we heard a big kerfuffle going. We thought, “What’s going on in there?” We went in. The Sex Pistols had already done a few numbers, so we saw the tail end of it. It looked like they were getting thrown out of the place! We were desperate to find out when they were playing next. We kept going to gigs finding out when the next one was.

After the Pistols at the Marquee, we went to every gig in London. It was very rough-sounding, nothing like what they turned out to be. They made a lot of errors. They did all the Sixties numbers. That’s what got Rob Simmons into them. What I liked about them was that they looked nothing like the Sixties. I wasn’t into that Sixties thing so much. I liked the sound of it but I didn’t want it to be a band doing just Sixties stuff. They had a NEW YORK DOLLS-type of sound. They were the only group that was anything like that at the time."

-- VIC GODARD (English singer-songwriter, formerly of SUBWAY SECT)

Sources: https://recordmecca.com/item-archives/sex-pistols-100-club-large-concert-handbill-1976 and https://louderthanwar.com/punks-40th-may-11th-1976-sex-pistols-start-residency-100-club.

[chorusfm]

The Clamor – “You Bring Out The Demon In Me” (Song Premiere)

Today is a great day to share the newest single from The Clamor called “You Bring Out The Demon In Me.” The second single from the band’s forthcoming EP to be released this summer, was co-written by Vic Godard and the Subway Sect. This punk-infused anthem is sure to make you feel something. The Clamor shared: Vic Godard is a legend and one of the most fiercely original songwriters and lyricists out there.  I love his song, and I thought a cover would work well as a thematic anchor to strengthen the narrative coherence of the four singles being released this spring. The struggle between saint and sinner, the plea for rescue, and the resistance against drifting between extremes all resonated with both my personal experiences and the overall exploration of personal struggles, the fragility of relationships, and the constant search for authenticity in the four singles. If you’re enjoying the latest single, please consider supporting this artist here. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/the-clamor-you-bring-out-the-demon-in-me-song-premiere/

[curry-cook]

1日数食日記

4/21(日) 晴れ→雨

休日。昨日のこともありなかなかベッドから出られず、結局10時起床。妻は早く起きて二、三時間語学の勉強をしていたそう。起きてからすぐパソコンを開いてパタパタ作業。妻は『涙の女王』の最新話を観ている間は自部屋に降りて、久しぶりにレコード鑑賞。やはりレコードは特別な音がする。妻が私の部屋のオーディオの拭き掃除をしてくれて、その際にCDを聴こうとしたら、CDを入れてもすぐ吐き出されてしまい聴けず、どうやら故障したらしい。あまり聴かなくなったとはいえ、やはり無いと困るので、どこかのタイミングで修理に出そう。そういえばソニー損保を更新。2年目はだいぶ安くなったが、来年は免許の色が残念ながら変わるのでまた高くなるのだろう。夕方から妻はヨガ。その間ひさたすら仕事を進めて、20時ごろ妻を迎えに行き、その足でジョナサンへ行き軽く晩御飯を食べる。酒のつまみのようなミニメニューを四品とドリンクバー。こういうのもたまには良い。ベイスターズの勝利を確認して帰宅。妻が、付き合う前に友人と三人でファミレスでオールしたことを思いださせてくれた。なかなかに甘酸っぱい気持ちになった。

音楽

1. Moondog Serenade / Cashman & West （レコード）

2. What's the Matter Boy? / Vic Godard & Subway Sect （レコード）

3. PRE-DOG NIGHT / Danny Hutton （レコード）

4. Ten Percent / Double Exposure （レコード）

5. Trilogy / Trilogy （レコード）

[nickiheadon]

i love Television Personalities i love Vic Godard and Subway Sect i love Mark Perry and Alternative TV !!!!!!!!!!!!!!!!!!

[dudewhoabides]

Vic Godard and The Subway Sect "Stop That Girl"

[bandcampsnoop]

6/29/21.

Apparently, Subway Sect (they have apparently retired the Vic Godard and the Subway Sect name) has released a new album that is seeing a vinyl issue on Text Und Töne , a New York based label.  It is not available on Bandcamp, but some earlier work by the band is.  While “Songs For Sale” is not generally thought of as the strongest LP by Vic Godard and the Subway Sect, it does get the nod for this posting.

The sound on this release reminds me of a cross between BMX Bandits, Joe Jackson and Sondre Lerche (especially the jazzy “Duper Sessions”).  The original album, “What’s The Matter Boy?” sound like Television circa Ork Records time.

While the new album is out a reissue of the older work is well overdue.  There are plenty of original copies available on Discogs.  Monorail has an issue of the new album that comes with a signed postcard.

[guessimdumb]

Orange Juice - Holiday Hymn (Peel Session - 1981)

Your eyes could melt the snow

[ozkar-krapo]

Vic GODARD & SUBWAY SECT

"What's the Matter Boy?"

(LP. MCA rcds. 1980 / rec. 1978) [GB]

[expo63]

I’m in a very big Vic / Subway Sect mood tonight, so have one of my favourite tracks...

‘Nullify My Reputation’ from Vic Godard, The End of the Surrey People (1993), Postcard Records, DUBH 936 CD, produced by (and with various musical/vocals contributions from) Edwyn Collins.

[A bit more here from thelondonnobodysings.blogspot.com]